44 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. |
| 18915 | If facts are the truthmakers, they are not in the world [Engelbretsen] |
| Full Idea: If there are such things as truthmakers (facts), they are not to be found in the world. As Strawson would say to Austin: there is the cat, there is the mat, but where in the world is the fact that the cat is on the mat? | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 4) | |
| A reaction: He cites Strawson, Quine and Davidson for this point. |
| 18919 | There are no 'falsifying' facts, only an absence of truthmakers [Engelbretsen] |
| Full Idea: A false proposition is not made false by anything like a 'falsifying' fact. A false proposition simply fails to be made true by any fact. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 4) | |
| A reaction: Sounds good. In truthmaker theory, one truth-value (T) is 'made', but the other one is not, so there is no symmetry between the two. Better to talk of T and not-T? See ideas on Excluded Middle. |
| 18913 | Traditional term logic struggled to express relations [Engelbretsen] |
| Full Idea: The greatest challenge for traditional term logicians was the proper formulation and treatment of relational expressions. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005]) | |
| A reaction: The modern term logic of Fred Sommers claims to have solved this problem. |
| 18907 | Term logic rests on negated terms or denial, and that propositions are tied pairs [Engelbretsen] |
| Full Idea: That terms can be negated, that such negation is distinguishable from denial, and that propositions can be construed syntactically as predicationally tied pairs of terms, are important for the tree theory of predication, and for term logic. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 2) |
| 18912 | Was logic a branch of mathematics, or mathematics a branch of logic? [Engelbretsen] |
| Full Idea: Nineteenth century logicians debated whether logic should be treated simply as a branch of mathematics, and mathematics could be applied to it, or whether mathematics is a branch of logic, with no mathematics used in formulating logic. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 3) | |
| A reaction: He cites Boole, De Morgan and Peirce for the first view, and Frege and Russell (and their 'logicism') for the second. The logic for mathematics slowly emerged from doing it, long before it was formalised. Mathematics is the boss? |
| 18922 | Logical syntax is actually close to surface linguistic form [Engelbretsen] |
| Full Idea: The underlying logical syntax of language is close to the surface syntax of ordinary language. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 5) | |
| A reaction: This is the boast of the Term logicians, in opposition to the strained and unnatural logical forms of predicate logic, which therefore don't give a good account of the way ordinary speakers reason. An attractive programme. 'Terms' are the key. |
| 18905 | Propositions can be analysed as pairs of terms glued together by predication [Engelbretsen] |
| Full Idea: Sommers's 'tree theory' of predication assumes that propositions can be analysed as pairs of terms joined by some kind of predicational glue. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 2) | |
| A reaction: This is the basis of Sommers's upgraded Aristotelian logic, known as Term Logic. The idea of reasoning with 'terms', rather than with objects, predicates and quantifiers, seems to me very appealing. I think I reason more about facts than about objects. |
| 18908 | Standard logic only negates sentences, even via negated general terms or predicates [Engelbretsen] |
| Full Idea: Standard logic recognises only one kind of negation: sentential negation. Consequently, negation of a general term/predicate always amounts to negation of the entire sentence. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 3) |
| 10429 | It is best to say that a name designates iff there is something for it to designate [Sainsbury] |
| Full Idea: It is better to say that 'For all x ("Hesperus" stands for x iff x = Hesperus)', than to say '"Hesperus" stands for Hesperus', since then the expression can be a name with no bearer (e.g. "Vulcan"). | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.2) | |
| A reaction: In cases where it is unclear whether the name actually designates something, it seems desirable that the name is at least allowed to function semantically. |
| 10425 | Definite descriptions may not be referring expressions, since they can fail to refer [Sainsbury] |
| Full Idea: Almost everyone agrees that intelligible definite descriptions may lack a referent; this has historically been a reason for not counting them among referring expressions. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.2) | |
| A reaction: One might compare indexicals such as 'I', which may be incapable of failing to refer when spoken. However 'look at that!' frequently fails to communicate reference. |
| 10438 | Definite descriptions are usually rigid in subject, but not in predicate, position [Sainsbury] |
| Full Idea: Definite descriptions used with referential intentions (usually in subject position) are normally rigid, ..but in predicate position they are normally not rigid, because there is no referential intention. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.5) | |
| A reaction: 'The man in the blue suit is the President' seems to fit, but 'The President is the head of state' doesn't. Seems roughly right, but language is always too complex for philosophers. |
| 18917 | Existence and nonexistence are characteristics of the world, not of objects [Engelbretsen] |
| Full Idea: Existence and nonexistence are not primarily properties of individual objects (dogs, unicorns), but of totalities. To say that some object exists is just to say that it is a constituent of the world, which is a characteristic of the world, not the object. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 4) | |
| A reaction: This has important implications for the problem of truthmakers for negative existential statements (like 'there are no unicorns'). It is obviously a relative of Armstrong's totality facts that do the job. Not sure about 'a characteristic of'. |
| 18916 | Facts are not in the world - they are properties of the world [Engelbretsen] |
| Full Idea: Facts must be viewed as properties of the world - not as things in the world. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 4) | |
| A reaction: Not sure I'm happy with either of these. Do animals grasp facts? If not, are they (as Strawson said) just the truths expressed by true sentences? That is not a clear idea either, given that facts are not the sentences themselves. Facts overlap. |
| 18921 | Individuals are arranged in inclusion categories that match our semantics [Engelbretsen] |
| Full Idea: The natural categories of individuals are arranged in a hierarchy of inclusion relations that is isomorphic with the linguistic semantic structure. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 5) | |
| A reaction: This is the conclusion of a summary of modern Term Logic. The claim is that Sommers discerned this structure in our semantics (via the study of 'terms'), and was pleasantly surprised to find that it matched a plausible structure of natural categories. |
| 18918 | Terms denote objects with properties, and statements denote the world with that property [Engelbretsen] |
| Full Idea: In term logic, what a term denotes are the objects having the property it signifies. What a statement denotes is the world, that which has the constitutive property it signifies. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 4) |
| 10432 | A new usage of a name could arise from a mistaken baptism of nothing [Sainsbury] |
| Full Idea: A baptism which, perhaps through some radical mistake, is the baptism of nothing, is as good a propagator of a new use as a baptism of an object. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.3) | |
| A reaction: An obvious example might be the Loch Ness Monster. There is something intuitively wrong about saying that physical objects are actually part of linguistic meaning or reference. I am not a meaning! |
| 10434 | Even a quantifier like 'someone' can be used referentially [Sainsbury] |
| Full Idea: A large range of expressions can be used with referential intentions, including quantifier phrases (as in 'someone has once again failed to close the door properly'). | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.5) | |
| A reaction: This is the pragmatic aspect of reference, where it can be achieved by all sorts of means. But are quantifiers inherently referential in their semantic function? Some of each, it seems. |
| 18920 | 'Socrates is wise' denotes a sentence; 'that Socrates is wise' denotes a proposition [Engelbretsen] |
| Full Idea: Whereas 'Socrates is wise' denotes a sentence, 'that Socrates is wise' denotes a proposition. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 4) | |
| A reaction: In traditional parlance, 'reported speech' refers to the underlying proposition, because it does not commit to the actual words being used. As a lover of propositions (as mental events, not mysterious abstract objects), I like this. |
| 18906 | Negating a predicate term and denying its unnegated version are quite different [Engelbretsen] |
| Full Idea: There is a crucial distinction in term logic between affirming a negated predicate term of some subject and denying the unnegated version of that term of that same subject. We must distinguish 'X is non-P' from 'X is not P'. | |
| From: George Engelbretsen (Trees, Terms and Truth [2005], 2) | |
| A reaction: The first one affirms something about X, but the second one just blocks off a possible description of X. 'X is non-harmful' and 'X is not harmful' - if X had ceased to exist, the second would be appropriate and the first wouldn't? I'm guessing. |
| 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. |
| 10431 | Things are thought to have a function, even when they can't perform them [Sainsbury] |
| Full Idea: On one common use of the notion of a function, something can possess a function which it does not, or even cannot, perform. A malformed heart is to pump blood, even if such a heart cannot in fact pump blood. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.2) | |
| A reaction: One might say that the heart in a dead body had the function of pumping blood, but does it still have that function? Do I have the function of breaking the world 100 metres record, even though I can't quite manage it? Not that simple. |