48 ideas
| 6814 | Instead of prayer and charity, sinners pursue vain disputes and want their own personal scripture [Mohammed] |
| Full Idea: The sinners will say 'we never prayed or fed the hungry. We engaged in vain disputes and denied the Day of Reckoning'. Indeed, each one of them demands a scripture of his own to be unrolled before him. | |
| From: Mohammed (The Koran [c.622], Ch.74) | |
| A reaction: The implication seems to be that most disputes are 'vain'. The charge that everyone wants a 'scripture of his own' is a nice challenge to the world of liberal education, where we are all enjoined to pursue our personalised routes to our own truth. |
| 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. |
| 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. |
| 6828 | You may break off a treaty if you fear treachery from your ally [Mohammed] |
| Full Idea: If you fear treachery from any of your allies, you may retaliate by breaking off your treaty with them; Allah does not love the treacherous. | |
| From: Mohammed (The Koran [c.622], Ch.8) | |
| A reaction: I do not think this is good advice. Everybody fears treachery, but if we all acted on that fear human relationships and society would immediately collapse. If anyone thought this was good advice, I would not want to make a treaty with them. |
| 6823 | Repay evil with good and your enemies will become friends (though this is hard) [Mohammed] |
| Full Idea: Requite evil with good, and he who is your enemy will become your dearest friend; but none will attain this save those who endure with fortitude and are greatly favoured by Allah. | |
| From: Mohammed (The Koran [c.622], Ch.41) | |
| A reaction: This seems opposed to some of the more vengeful remarks in the Koran. It strikes me as good common sense, since vengeance only seems to breed counter-vengeance. It doesn't carry the full altruistic commitment, though, of unrewarded love. |
| 6826 | Allah rewards those who are devout, sincere, patient, humble, charitable, chaste, and who fast [Mohammed] |
| Full Idea: Allah will bestow forgiveness and a rich reward on those, both men and women, who are devout, sincere, patient, humble, charitable and chaste; who fast and are ever mindful of Allah. | |
| From: Mohammed (The Koran [c.622], Ch.33) | |
| A reaction: Most people would still agree that all of these are virtues, though other lists will show interesting virtues that are not mentioned here, and many on this list seem overrated in the modern pantheon of virtues. |
| 6822 | Those who avenge themselves when wronged incur no guilt [Mohammed] |
| Full Idea: Those who avenge themselves when wronged incur no guilt. | |
| From: Mohammed (The Koran [c.622], Ch.42) | |
| A reaction: Compare Ideas 1659 (Protagoras), 346 (Socrates), 6288 (Jesus), and 4286 (Scruton!). In the light of those ideas, this comment in the Koran strikes me as coming from an older and less civilized world. |
| 6833 | Punish theft in men or women by cutting off their hands [Mohammed] |
| Full Idea: As for the man or woman who is guilty of theft, cut off their hands to punish them for their crimes. | |
| From: Mohammed (The Koran [c.622], Ch.5) | |
| A reaction: I find this shocking because it is irrevocable and offers no hope of redemption. It is particularly shocking that the text does not enjoin any caution about inflicting the punishment on the young, most of whom reform from thieving in later life. |
| 6825 | Do not kill except for a just cause [Mohammed] |
| Full Idea: Do not kill except for a just cause. | |
| From: Mohammed (The Koran [c.622], Ch.25) | |
| A reaction: Slippery slope! I can see that pleasure would not be a just cause, and ensuring the entry of all humanity to paradise might be one, but I find the area in between a little unclear. The Koran seems to allow you to decide for yourself. |
| 6832 | Killing a human, except as just punishment, is like killing all mankind [Mohammed] |
| Full Idea: We laid it down for the Israelites that whoever killed a human being, except as a punishment for murder or other wicked crimes, should be looked upon as though he had killed all mankind. | |
| From: Mohammed (The Koran [c.622], Ch.5) | |
| A reaction: It seems inconceivable that the Koran could be used to justify indiscriminate terrorism, in the light of remarks such as this. |
| 5467 | Euler said nature is instrinsically passive, and minds cause change [Euler, by Ellis] |
| Full Idea: Euler thought the powers necessary for the maintenance of the changing universe would turn out to be just the passive ones of inertia and impenetrability. There are no active powers, he urged, other than those of God and living beings. | |
| From: report of Leonhard Euler (Letters to a German Princess [1765]) by Brian Ellis - The Philosophy of Nature: new essentialism Ch.4 | |
| A reaction: Very significant, I think, for revealing the religious framework behind early theories of natural laws. If there is nothing external to impose powers and movements on nature, the source must be sought within - hence essentialism. |
| 6811 | Allah is lord of creation, compassionate, merciful, king of judgement-day [Mohammed] |
| Full Idea: Praise be to Allah, Lord of Creation, The Compassionate, the Merciful, King of Judgement-day! | |
| From: Mohammed (The Koran [c.622], Exord) | |
| A reaction: The Muslim concept of God confronts directly a clear theological difficulty, a difficulty faced by any judge: the conflict between mercy and justice. Christianity seems to emphasise mercy, and Islam emphasises justice. |
| 6819 | True believers see that Allah made the night for rest and the day to give light [Mohammed] |
| Full Idea: Do they not see how We have made the night for them to rest in and the day to give them light? Surely there are signs in this for true believers. | |
| From: Mohammed (The Koran [c.622], Ch.27) | |
| A reaction: The main traditional argument for God implied in the Koran is the design argument. It is clear from this that Islam will not be comfortable with Darwinian evolution, which implies we are 'designed' for the Earth, not the Earth for us. |
| 6818 | Allah cannot have begotten a son, as He is self-sufficient [Mohammed] |
| Full Idea: They say: 'Allah has begotten a son.' Allah forbid! Self-sufficient is He. | |
| From: Mohammed (The Koran [c.622], Ch.10) | |
| A reaction: This is quite persuasive, except that the point of Jesus is that he suffers a cruel death, and we are required to identify with God's parental feelings here, His involvement, which would not occur with the death of one of His prophets. |
| 6829 | There shall be no compulsion in religion [Mohammed] |
| Full Idea: There shall be no compulsion in religion. | |
| From: Mohammed (The Koran [c.622], Ch.2) | |
| A reaction: This seems to contradict some of the more aggressive remarks in the Koran, such as Idea 6827. As I read it, the three non-compelling ideas that lead to true religion in the Koran are desire for paradise, fear of punishment, and worship of divine design. |
| 6834 | Unbelievers try to interpret the ambiguous parts of the Koran, simply to create dissension [Mohammed] |
| Full Idea: Some of the verses of the Koran are precise in meaning - they are the foundations of the Book - and others are ambiguous. Disbelievers follow the ambiguous part, to create dissension by seeking to explain it. No one knows its meaning except Allah. | |
| From: Mohammed (The Koran [c.622], Ch.3) | |
| A reaction: It is tempting to ask why some of the verses are ambiguous. The implication here is that they are a deliberate test for believers, like the apple in the garden of Eden. |
| 6817 | The Koran is certainly composed by Allah; no one could compose a chapter like it [Mohammed] |
| Full Idea: This Koran could not have been composed by any but Allah. It is beyond doubt from the Lord of the Creation. If they say: 'It is your own invention', say: 'Compose one chapter like it. Call on your false gods to help you!' | |
| From: Mohammed (The Koran [c.622], Ch.10) | |
| A reaction: I find this unpersuasive, firstly because I couldn't imitate the sonnets of Shakespeare either, and secondly because the authority of a text must be asserted outside the text, not within it. Scribble "this is a ten pound note" on a scrap of paper. |
| 6824 | Do not split into sects, exulting in separate beliefs [Mohammed] |
| Full Idea: Do not split up your religion into sects, each exulting in its own beliefs. | |
| From: Mohammed (The Koran [c.622], Ch.30) | |
| A reaction: This seems like good advice to a religion, but it is very difficult to retrace steps and reunite once it has happened. Which sect should make the greatest concessions? Must they both admit to being somewhat wrong? |
| 6821 | I created mankind that it might worship Me [Mohammed] |
| Full Idea: I created mankind and the jinn in order that they might worship Me. | |
| From: Mohammed (The Koran [c.622], Ch.51) | |
| A reaction: This seems to be a view common to all the monotheistic religions, with monasticism as its clearest (and most logical) outcome. Nietzsche is the most obvious opponent of this idea that the abasement of mankind is its highest ideal. |
| 6815 | Be patient with unbelievers, and leave them to the judgement of Allah [Mohammed] |
| Full Idea: Bear patiently with what the unbelievers say, and leave their company without recrimination; leave to Me those that deny the truth. | |
| From: Mohammed (The Koran [c.622], Ch.73) | |
| A reaction: This explicitly says Muslims should not attack infidels simply for their unbelief in Allah. |
| 6827 | Make war on the unbelievers until Allah's religion reigns supreme [Mohammed] |
| Full Idea: Make war on the unbelievers until idolatry is no more and Allah's religion reigns supreme. | |
| From: Mohammed (The Koran [c.622], Ch.8) | |
| A reaction: This should presumably be seen in context, as a war speech written during a conflict, like Churchill 'fighting them on the beaches', which does not apply to modern German tourists. However, one worries about how fundamentalists might read it. |
| 6831 | He that kills a believer by design shall burn in Hell for ever [Mohammed] |
| Full Idea: He that kills a believer by design shall burn in Hell for ever. | |
| From: Mohammed (The Koran [c.622], Ch.4) | |
| A reaction: This would appear to make modern indiscriminate urban terrorism a damning sin for a Muslim. |
| 6820 | The righteous shall dwell on couches in gardens, wedded to dark-eyed houris [Mohammed] |
| Full Idea: In fair gardens the righteous shall dwell in bliss, rejoicing in what their Lord will give them. They shall recline on couches ranged in rows. To dark-eyed houris We shall wed them. | |
| From: Mohammed (The Koran [c.622], Ch.52) | |
| A reaction: What I find distressing about this is that we have gradually worked out how young men can recline on couches in gardens with dark-eyed houris before death, and the Koran seems to depict it as the highest form of living. |
| 6812 | Heaven will be reclining on couches, eating fruit, attended by virgins [Mohammed] |
| Full Idea: All who dwell in heaven shall recline on couches lined with thick brocade, and within their reach will hang the fruits of gardens; they shall dwell with bashful virgins whom neither men nor jinnee will have touched before. | |
| From: Mohammed (The Koran [c.622], Ch.55) | |
| A reaction: In the seventh century this was more impressive than it seems now. I still find it sad (though understandable) that paradise must always be depicted in terms of physical pleasure. Aristotle wouldn't have yearned for such an immortality. |
| 6830 | Unbelievers will have their skin repeatedly burned off in hell [Mohammed] |
| Full Idea: Those that deny Our revelations We will burn in Hell-fire. No sooner will their skins be consumed that We shall give them other skins, so that they may truly taste Our scourge. Allah is mighty and wise. | |
| From: Mohammed (The Koran [c.622], Ch.4) | |
| A reaction: Of all the accounts of hell in the Koran, this strikes me as the most alarming. I cannot think of a worse infliction, because here every nerve which can experience pain will suffer it (though the drinking of boiling water, Idea 6816, will make it worse). |
| 6816 | The unbelievers shall drink boiling water [Mohammed] |
| Full Idea: As for the unbelievers, they shall drink boiling water. | |
| From: Mohammed (The Koran [c.622], Ch.10) | |
| A reaction: This seems to be presented not only as a threat to unbelievers, but also as a satisfaction to believers. |