Combining Texts

All the ideas for 'A Puzzle about Belief', 'A Realistic Theory of Categories' and 'Introductions to 'Aesthetics and the Phil of Art''

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5 ideas

7. Existence / E. Categories / 3. Proposed Categories
13120 Chisholm divides things into contingent and necessary, and then individuals, states and non-states [Chisholm, by Westerhoff]
     Full Idea: Chisholm's Ontological Categories: ENTIA - {Contingent - [Individual - (Boundaries)(Substances)] [States - (Events)]} {Necessary - [States] [Non-States - (Attributes)(Substance)]}
     From: report of Roderick Chisholm (A Realistic Theory of Categories [1996], p.3) by Jan Westerhoff - Ontological Categories §01
     A reaction: [I am attempting a textual representation of a tree diagram! The bracket-styles indicate the levels.]
18. Thought / B. Mechanics of Thought / 5. Mental Files
16383 Puzzled Pierre has two mental files about the same object [Recanati on Kripke]
     Full Idea: In Kripke's puzzle about belief, the subject has two distinct mental files about one and the same object.
     From: comment on Saul A. Kripke (A Puzzle about Belief [1979]) by François Recanati - Mental Files 17.1
     A reaction: [Pierre distinguishes 'London' from 'Londres'] The Kripkean puzzle is presented as very deep, but I have always felt there was a simple explanation, and I suspect that this is it (though I will leave the reader to think it through, as I'm very busy…).
21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics
20327 Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson]
     Full Idea: In modern discussions, rather than look for intrinsic properties of objects, including aesthetic or formal properties, attention has turned to extrinsic or relational properties, notably of a social, historical, or 'institutional' nature.
     From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
     A reaction: Lots of modern branches of philosophy have made this move, which seems to me like a defeat. We want to know why things have the relations they do. Just mapping the relations is superficial Humeanism.
21. Aesthetics / B. Nature of Art / 1. Defining Art
20326 Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson]
     Full Idea: In the early twentieth century there were numerous attempts at defining the essence art. Significant form, intuition, the expression of emotion, organic unity, and other notions, were offered to this end.
     From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
     A reaction: As far as I can see the whole of aesthetics was demolished in one blow by Marcel Duchamp's urinal. Artists announce: we will tell you what art is; you should just sit and listen. Compare the invention of an anarchic sport.
21. Aesthetics / B. Nature of Art / 7. Ontology of Art
20330 The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson]
     Full Idea: The dualistic view of the arts holds that works of art come in two fundamentally different kinds: those that are abstract entities, i.e. types, and those that are physical objects (tokens).
     From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 2)
     A reaction: Paintings are the main reason for retaining physical objects. Strawson 1974 argues that paintings are only physical because we cannot yet perfectly reproduce them. I agree. Works of art are types, not tokens.