41 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. |
| 20298 | The traditional a priori is justified without experience; post-Quine it became unrevisable by experience [Rey] |
| Full Idea: Where Kant and others had traditionally assumed that the a priori concerned beliefs 'justifiable independently of experience', Quine and others of the time came to regard it as beliefs 'unrevisable in the light of experience'. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 3.7) | |
| A reaction: That throws a rather striking light on Quine's project. Of course, if the a priori is also necessary, then it has to be unrevisable. But is a bachelor necessarily an unmarried man? It is not necessary that 'bachelor' has a fixed meaning. |
| 21506 | A coherence theory of justification can combine with a correspondence theory of truth [Bonjour] |
| Full Idea: There is no manifest absurdity in combining a coherence theory of justification with a correspondence theory of truth. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.1) | |
| A reaction: His point is to sharply (and correctly) distinguish coherent justification from a coherence theory of truth. Personally I would recommend talking of a 'robust' theory of truth, without tricky commitment to 'correspondence' between very dissimilar things. |
| 21509 | There will always be a vast number of equally coherent but rival systems [Bonjour] |
| Full Idea: On any plausible conception of coherence, there will always be many, probably infinitely many, different and incompatible systems of belief which are equally coherent. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.5) | |
| A reaction: If 'infinitely many' theories are allowed, that blocks the coherentist hope that widening and precisifying the system will narrow down the options and offer some verisimilitude. If we stick to current English expression, that should keep them finite. |
| 21503 | Empirical coherence must attribute reliability to spontaneous experience [Bonjour] |
| Full Idea: An empirical coherence theory needs, for the beliefs of a cognitive system to be even candidates for empirical justification, that the system must contain laws attributing a high degree of reliability to a variety of spontaneous cognitive beliefs. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 7.1) | |
| A reaction: Wanting such a 'law' seems optimistic, and not in the spirit of true coherentism, which can individually evaluate each experiential belief. I'm not sure Bonjour's Observation Requirement is needed, since it is incoherent to neglect observations. |
| 21511 | A well written novel cannot possibly match a real belief system for coherence [Bonjour] |
| Full Idea: It is not even minimally plausible that a well written novel ...would have the degree of coherence required to be a serious alternative to anyone's actual system of beliefs. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.5) | |
| A reaction: This seems correct. 'Bleak House' is wonderfully consistent, but its elements are entirely verbal, and nothing occupies the space between the facts that are described. And Lady Dedlock is not in Debrett. I think this kills a standard objection. |
| 21510 | The objection that a negated system is equally coherent assume that coherence is consistency [Bonjour] |
| Full Idea: Sometimes it is said that if one has an appropriately coherent system, an alternative system can be produced simply be negating all of the components of the first system. This would only be so if coherence amounted simply to consistency. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.5) | |
| A reaction: I associate Russell with this original objection to coherentism. I formerly took this to be a serious problem, and am now relieved to see that it clearly isn't. |
| 21505 | A coherent system can be justified with initial beliefs lacking all credibility [Bonjour] |
| Full Idea: It is simply not necessary in order for [the coherence] view to yield justification to suppose that cognitively spontaneous beliefs have some degree of initial or independent credibility. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 7.2) | |
| A reaction: This is thoroughly and rather persuasively criticised by Erik Olson. But he always focuses on the coherence of a 'system' with multiple beliefs. I take the credibility of each individual belief to need coherent assessment against a full background. |
| 21504 | The best explanation of coherent observations is they are caused by and correspond to reality [Bonjour] |
| Full Idea: The best explanation for a stable system of beliefs which rely on observation is that the beliefs are caused by what they depict, and the system roughly corresponds to the independent reality it describes. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 8.3) | |
| A reaction: [compressed] Anyone who links best explanation to coherence (and to induction) warms the cockles of my heart. Erik Olson offers a critique, but doesn't convince me. The alternative is to find a better explanation (than reality), or give up. |
| 21508 | Anomalies challenge the claim that the basic explanations are actually basic [Bonjour] |
| Full Idea: The distinctive significance of anomalies lies in the fact that they undermine the claim of the allegedly basic explanatory principles to be genuinely basic. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.3) | |
| A reaction: This seems plausible, suggesting that (rather than an anomaly flatly 'falsifying' a theory) an anomaly may just demand a restructuring or reconceptualising of the theory. |
| 20300 | Externalist synonymy is there being a correct link to the same external phenomena [Rey] |
| Full Idea: Externalists are typically committed to counting expressions as 'synonymous' if they happen to be linked in the right way to the same external phenomena, even if a thinker couldn't realise that they are by reflection alone. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.2) | |
| A reaction: [He cites Fodor] Externalists always try to link to concrete things in the world, but most of our talk is full of generalities, abstractions and fiction which don't link directly to anything. |
| 20294 | 'Married' does not 'contain' its symmetry, nor 'bigger than' its transitivity [Rey] |
| Full Idea: If Bob is married to Sue, then Sue is married to Bob. If x bigger than y, and y bigger than z, x is bigger than z. The symmetry of 'marriage' or transitivity of 'bigger than' are not obviously 'contained in' the corresponding thoughts. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 1.2) | |
| A reaction: [Also 'if something is red, then it is coloured'] This is a Fregean criticism of Kant. It is not so much that Kant was wrong, as that the concept of analyticity is seen to have a much wider application than Kant realised. Especially in mathematics. |
| 20293 | Analytic judgements can't be explained by contradiction, since that is what is assumed [Rey] |
| Full Idea: Rejecting 'a married bachelor' as contradictory would seem to have no justification other than the claim that 'All bachelors are unmarried is analytic, and so cannot serve to justify or explain that claim. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 1.2) | |
| A reaction: Rey is discussing Frege's objection to Kant (who tried to prove the necessity of analytic judgements, on the basis of the denial being a contradiction). |
| 20297 | Analytic statements are undeniable (because of meaning), rather than unrevisable [Rey] |
| Full Idea: What's peculiar about the analytic is that denying it seem unintelligible. Far from unrevisability explaining analyticity, it seems to be analyticitiy that explains unrevisability; we only balk at denying unmarried bachelors because that's what it means! | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 3.7) | |
| A reaction: This is a criticism of Quine, who attacked analyticity when it is understood as unrevisability. Obviously we could revise the concept of 'bachelor', if our marriage customs changed a lot. Rey seems right here. |
| 20301 | The meaning properties of a term are those which explain how the term is typically used [Rey] |
| Full Idea: It may be that the meaning properties of a term are the ones that play a basic explanatory role with regard to the use of the term generally, the ones in virtue ultimately of which a term is used with that meaning. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.3) | |
| A reaction: [He cites Devitt 1996, 2002, and Horwich 1998, 2005) I spring to philosophical life whenever I see the word 'explanatory', because that is the point of the whole game. They are pointing to the essence of the concept (which is explanatory, say I). |
| 20302 | An intrinsic language faculty may fix what is meaningful (as well as grammatical) [Rey] |
| Full Idea: The existence of a separate language faculty may be an odd but psychologically real fact about us, and it may thereby supply a real basis for commitments about not only what is or is not grammatical, but about what is a matter of natural language meaning. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.4) | |
| A reaction: This is the Chomskyan view of analytic sentences. An example from Chomsky (1977:142) is the semantic relationships of persuade, intend and believe. It's hard to see how the secret faculty on its own could do the job. Consensus is needed. |
| 20303 | Research throws doubts on the claimed intuitions which support analyticity [Rey] |
| Full Idea: The movement of 'experimental philosophy' has pointed to evidence of considerable malleability of subject's 'intuitions' with regard to the standard kinds of thought experiments on which defenses of analytic claims typically rely. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.4) | |
| A reaction: See Cappelen's interesting attack on the idea that philosophy relies on intuitions, and hence his attack on experimental philosophy. Our consensus on ordinary English usage hardly qualifies as somewhat vague 'intuitions'. |
| 20299 | If we claim direct insight to what is analytic, how do we know it is not sub-consciously empirical? [Rey] |
| Full Idea: How in the end are we going to distinguish claims or the analytic as 'rational insight', 'primitive compulsion', inferential practice or folk belief from merely some deeply held empirical conviction, indeed, from mere dogma. | |
| From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.1) | |
| A reaction: This is Rey's summary of the persisting Quinean challenge to analytic truths, in the face of a set of replies, summarised by the various phrases here. So do we reject a dogma of empiricism, by asserting dogmatic empiricism? |
| 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. |