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? |
| 4465 | Note that "is" can assert existence, or predication, or identity, or classification [PG] |
| Full Idea: There are four uses of the word "is" in English: as existence ('he is at home'), as predication ('he is tall'), as identity ('he is the man I saw'), and as classification ('he is British'). | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: This seems a nice instance of the sort of point made by analytical philosophy, which can lead to horrible confusion in other breeds of philosophy when it is overlooked. |
| 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. |
| 4686 | Fallacies are errors in reasoning, 'formal' if a clear rule is breached, and 'informal' if more general [PG] |
| Full Idea: Fallacies are errors in reasoning, labelled as 'formal' if a clear rule has been breached, and 'informal' if some less precise error has been made. | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: Presumably there can be a grey area between the two. |
| 7415 | Question-begging assumes the proposition which is being challenged [PG] |
| Full Idea: To beg the question is to take for granted in your argument that very proposition which is being challenged | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: An undoubted fallacy, and a simple failure to engage in the rational enterprise. I suppose one might give a reason for something, under the mistaken apprehension that it didn't beg the question; analysis of logical form is then needed. |
| 7414 | What is true of a set is also true of its members [PG] |
| Full Idea: The fallacy of division is the claim that what is true of a set must therefore be true of its members. | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: Clearly a fallacy, but if you only accept sets which are rational, then there is always a reason why a particular is a member of a set, and you can infer facts about particulars from the nature of the set |
| 6696 | The Ad Hominem Fallacy criticises the speaker rather than the argument [PG] |
| Full Idea: The Ad Hominem Fallacy is to criticise the person proposing an argument rather than the argument itself, as when you say "You would say that", or "Your behaviour contradicts what you just said". | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: Nietzsche is very keen on ad hominem arguments, and cheerfully insults great philosophers, but then he doesn't believe there is such a thing as 'pure argument', and he is a relativist. |
| 4687 | Minimal theories of truth avoid ontological commitment to such things as 'facts' or 'reality' [PG] |
| Full Idea: Minimalist theories of truth are those which involve minimum ontological commitment, avoiding references to 'reality' or 'facts' or 'what works', preferring to refer to formal relationships within language. | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: Personally I am suspicious of minimal theories, which seem to be designed by and for anti-realists. They seem too focused on language, when animals can obviously formulate correct propositions. I'm quite happy with the 'facts', even if that is vague. |
| 6516 | Monty Hall Dilemma: do you abandon your preference after Monty eliminates one of the rivals? [PG] |
| Full Idea: The Monty Hall Dilemma: Three boxes, one with a big prize; pick one to open. Monty Hall then opens one of the other two, which is empty. You may, if you wish, switch from your box to the other unopened box. Should you? | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: The other two boxes, as a pair, are more likely contain the prize than your box. Monty Hall has eliminated one of them for you, so you should choose the other one. Your intuition that the two remaining boxes are equal is incorrect! |
| 24054 | Everything has a probability, something will happen, and probabilities add up [PG] |
| Full Idea: The three Kolgorov axioms of probability: the probability of an event is a non-negative real number; it is certain that one of the 'elementary events' will occur; and the unity of probabilities is the sum of probability of parts ('additivity'). | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: [My attempt to verbalise them; they are normally expressed in terms of set theory]. Got this from a talk handout, and Wikipedia. |
| 3875 | If reality is just what we perceive, we would have no need for a sixth sense [PG] |
| Full Idea: Reality must be more than merely what we perceive, because a sixth sense would enhance our current knowledge, and a seventh, and so on. | |
| From: PG (Db (ideas) [2031]) |
| 3876 | If my team is losing 3-1, I have synthetic a priori knowledge that they need two goals for a draw [PG] |
| Full Idea: If my football team is losing 3-1, I seem to have synthetic a priori knowledge that they need two goals to achieve a draw | |
| From: PG (Db (ideas) [2031]) |
| 7734 | Maybe a mollusc's brain events for pain ARE of the same type (broadly) as a human's [PG] |
| Full Idea: To defend type-type identity against the multiple realisability objection, we might say that a molluscs's brain events that register pain ARE of the same type as humans, given that being 'of the same type' is a fairly flexible concept. | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: But this reduces 'of the same type' to such vagueness that it may become vacuous. You would be left with token-token identity, where the mental event is just identical to some brain event, with its 'type' being irrelevant. |
| 7735 | Maybe a frog's brain events for fear are functionally like ours, but not phenomenally [PG] |
| Full Idea: To defend type-type identity against the multiple realisability objection, we might (also) say that while a frog's brain events for fear are functionally identical to a human's (it runs away), that doesn't mean they are phenomenally identical. | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: I take this to be the key reply to the multiple realisability problem. If a frog flees from a loud noise, it is 'frightened' in a functional sense, but that still leaves the question 'What's it like to be a frightened frog?', which may differ from humans. |
| 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. |
| 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. |
| 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. |
| 3877 | Utilitarianism seems to justify the discreet murder of unhappy people [PG] |
| Full Idea: If I discreetly murdered a gloomy and solitary tramp who was upsetting people in my village, if is hard to see how utilitarianism could demonstrate that I had done something wrong. | |
| From: PG (Db (ideas) [2031]) |
| 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. |
| 6126 | Life is Movement, Respiration, Sensation, Nutrition, Excretion, Reproduction, Growth (MRS NERG) [PG] |
| Full Idea: The biologists' acronym for the necessary conditions of life is MRS NERG: that is, Movement, Respiration, Sensation, Nutrition, Excretion, Reproduction, Growth. | |
| From: PG (Db (ideas) [2031]) | |
| A reaction: How strictly necessary are each of these is a point for discussion. A notorious problem case is fire, which (at a stretch) may pass all seven tests. |
| 3873 | An omniscient being couldn't know it was omniscient, as that requires information from beyond its scope of knowledge [PG] |
| Full Idea: God seems to be in the paradoxical situation that He may be omniscient, but can never know that He is, because that involves knowing that there is nothing outside his scope of knowledge (e.g. another God) | |
| From: PG (Db (ideas) [2031]) |
| 3874 | How could God know there wasn't an unknown force controlling his 'free' will? [PG] |
| Full Idea: How could God be certain that he has free will (if He has), if He couldn't be sure that there wasn't an unknown force controlling his will? | |
| From: PG (Db (ideas) [2031]) |