38 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. |
| 17462 | A single object must not be counted twice, which needs knowledge of distinctness (negative identity) [Rumfitt] |
| Full Idea: One requirement for a successful count is that double counting should be avoided: a single object should not be counted twice. ...but that is to make a knowledgeable judgement of distinctness - to resolve a question of identity in the negative. | |
| From: Ian Rumfitt (Concepts and Counting [2002], III) | |
| A reaction: He also notes later (p.65) that you must count all and only the right things. |
| 17461 | Some 'how many?' answers are not predications of a concept, like 'how many gallons?' [Rumfitt] |
| Full Idea: We hit trouble if we hear answers to some 'How many?' questions as predications about concepts. The correct answer to 'how many gallons of water are in the tank?' may be 'ten', but that doesn''t mean ten things instantiate 'gallon of water in the tank'. | |
| From: Ian Rumfitt (Concepts and Counting [2002], I) | |
| A reaction: Rumfitt makes the point that a huge number of things instantiate that concept in a ten gallon tank of water. No problem, says Rumfitt, because Frege wouldn't have counted that as a statement of number. |
| 7352 | Jesus said learning was unnecessary, and only the spirit of the Law was needed [Jesus, by Johnson,P] |
| Full Idea: Jesus was a learned Jew who said that learning was not necessary, who took the spirit and not the letter as the essence of the Law. | |
| From: report of Jesus (reports [c.32]) by Paul Johnson - The History of the Jews Pt II | |
| A reaction: This seems to me the perfect opposite of Socrates's intellectualism, offering the essence of morality as 'purity of heart', rather than careful thought about virtue or principles. On the whole I am with Socrates, but the idea is interesting. |
| 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. |
| 6289 | Love your enemies [Jesus] |
| Full Idea: Love your enemies. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 05.44 | |
| A reaction: The germ of this idea had been around for several hundred years, but this very forceful statement is perhaps Jesus' most distinctive contribution to moral thought. It has the same clarion call as the Stoic demand for pure virtue. What about deserving? |
| 6292 | Love thy neighbour as thyself [Jesus] |
| Full Idea: Love thy neighbour as thyself. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 19.19 | |
| A reaction: It would be stronger and better to say 'Love your neighbour, even if you don't love yourself'. Self-loathing and vicious hatred often go together. For once Jesus does not attach an instant heavenly reward to obedience of the command. |
| 5356 | Treat others as you would have them treat you [Jesus] |
| Full Idea: All things whatsoever ye would that men should do to you, so ye even so to them: for this is the law and the prophets. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 07.12 | |
| A reaction: A problem which probably didn't occur to Jesus and the prophets is that of masochists. Personally I like buying philosophy books, but most people have no such desire. The Rule needs restricting to the basics of pleasure and pain. |
| 6286 | Blessed are the merciful: for they shall obtain mercy [Jesus] |
| Full Idea: Blessed are the merciful: for they shall obtain mercy. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 05.07 | |
| A reaction: This appears to be a straightforward application of social contract morality, with God playing the role of Hobbes' absolute monarch. It highlights the uncomfortable fact at the heart of Christian morality, that the motivation for altruism is selfish. |
| 6290 | Except ye become as little children, ye shall not enter heaven [Jesus] |
| Full Idea: Except ye be converted, and become as little children, ye shall not enter into the kingdom of heaven. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 18.03 | |
| A reaction: The appeal of such purity of heart is undeniable, but essentially I dislike this remark. It is the opponent of education, reason, autonomy, responsibility, democracy and maturity. It confirms the view that religion is the opium of the people. |
| 6287 | If you lust after a woman, you have committed adultery [Jesus] |
| Full Idea: Whosoever look on a woman to lust after her hath committed adultery with her already in his heart. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 05.28 | |
| A reaction: Compare Democritus, Idea 503. Literally this idea seems absurd, but it is also at the heart of Greek virtue theory. Aristotle (Idea 34) defines virtue as an activity 'of the soul', not an action in the world. Excellence has become purity of soul. |
| 6285 | Blessed are the meek; for they shall inherit the earth [Jesus] |
| Full Idea: Blessed are the meek; for they shall inherit the earth. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 05.05 | |
| A reaction: If they are truly meek, why would they want to inherit the earth? This is the classic statement of Nietzsche's 'inversion of values', where the qualities of a good slave are elevated above those of the greatest human beings. |
| 6288 | Don't resist evil, but turn the other cheek [Jesus] |
| Full Idea: Ye have heard it said, An eye for an eye, and a tooth for a tooth; But I say unto you, That ye resist not evil, but whosoever shall smite thee on thy right cheek, turn to him the other also. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 05.38-9 | |
| A reaction: Compare Socrates, Idea 346. The viciousness of many Hollywood movies is that they set up a character as thoroughly evil so that we can have the pleasure of watching him pulverised. On the whole, Jesus gives bad advice. 'Doormats' in game theory. |
| 6293 | It is almost impossible for the rich to go to heaven [Jesus] |
| Full Idea: It is easier for a camel to go through the eye of a needle, than for a rich man to enter into the kingdom of God. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 19.24 | |
| A reaction: Aristotle and others (Margaret Thatcher) have observed that you cannot practise charity if you are poor. Jesus implies that the human race should remain in poverty. No wonder autocratic medieval rulers taught Christianity to peasants. Cf. Matt 25.30. |
| 6291 | No one is good except God [Jesus] |
| Full Idea: Why callest thou me good? There is none good but one, that is, God. | |
| From: Jesus (reports [c.32]), quoted by St Matthew - 01: Gospel of St Matthew 19.17 | |
| A reaction: This remark raises the problem that if God is good, there must be some separate moral standard by which he can be judged good. What is that standard? It is related to the problem of whether Plato's Form of the Beautiful is itself beautiful. |
| 7351 | Jesus turned the ideas of Hillel into a theology reduced to its moral elements [Jesus, by Johnson,P] |
| Full Idea: Jesus was a member of the school of Hillel the Elder, and may have sat under him. He repeated some of the sayings of Hillel, ...and turned his ideas into a moral theology, stripping the law of all but its moral and ethical elements. | |
| From: report of Jesus (reports [c.32]) by Paul Johnson - The History of the Jews Pt II | |
| A reaction: The crucial move, it seems to me, is to strip Judaism of its complexity, and reduce it to very simple moral maxims, which means that ordinary illiterate people no longer need priests to understand and follow it. Jesus was, above all, a great teacher. |