46 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. |
| 8166 | Truth is part of semantics, since valid inference preserves truth [Dummett] |
| Full Idea: The concept of truth belongs to semantics, since after all truth is what must be preserved by a valid deductive inference. | |
| From: Michael Dummett (Thought and Reality [1997], 2) | |
| A reaction: Does this conclusion follow? Compare 'nice taste belongs to cooking, since that is what cooking must preserve'. I don't like this. I take 'truth' to be a relevant concept to a discussion of a dog's belief that it is going to be taken for a walk. |
| 8173 | Language can violate bivalence because of non-referring terms or ill-defined predicates [Dummett] |
| Full Idea: Two features of natural languages cause them to violate bivalence: singular terms (or proper names) which have a sense but fail to denote an object ('the centre of the universe'); and predicates which are not well defined for every object. | |
| From: Michael Dummett (Thought and Reality [1997], 4) | |
| A reaction: If we switch from sentences to propositions these problems might be avoided. If there is no reference, or a vague predicate, then there is (maybe) just no proposition being expressed which could be evaluated for truth. |
| 8179 | The law of excluded middle is the logical reflection of the principle of bivalence [Dummett] |
| Full Idea: The law of excluded middle is the reflection, within logic, of the principle of bivalence. It states that 'For any statement A, the statement 'A or not-A' is true'. | |
| From: Michael Dummett (Thought and Reality [1997], 5) | |
| A reaction: True-or-not-true is an easier condition to fulfil than true-or-false. The second says that 'false' is the only alternative, but the first allows other alternatives to 'true' (such as 'undecidable'). It is hard to challenge excluded middle. Somewhat true? |
| 8184 | Philosophers should not presume reality, but only invoke it when language requires it [Dummett] |
| Full Idea: The philosopher's task is not to make a prior commitment for or against realism, but to discover how far realist considerations must be invoked in order to describe our understanding of our language: they may be invoked only if they must be invoked. | |
| From: Michael Dummett (Thought and Reality [1997], 6) | |
| A reaction: I don't see why the default position should be solipsism, or a commitment to Ockham's Razor. This is the Cartesian 'Enlightenment Project' approach to philosophy - that everything has to be proved. There is more to ontology than language. |
| 8185 | We can't make sense of a world not apprehended by a mind [Dummett] |
| Full Idea: We can make no clear sense of there being a world that is not apprehended by any mind. | |
| From: Michael Dummett (Thought and Reality [1997], 8) | |
| A reaction: I find Dummett's view quite baffling. It is no coincidence that Dummett is a theist, along (it seems) Berkeleian lines. I see no more problem with imagining such worlds than with imagining ships sunken long ago which will never be found. |
| 8163 | Since 'no bird here' and 'no squirrel here' seem the same, we must talk of 'atomic' facts [Dummett] |
| Full Idea: What complex of objects constitutes the fact that there is no bird on the bough, and how is that distinct from no squirrel on the bough? This drives us to see the world as composed of 'atomic' facts, making complexes into compounds, not reality itself. | |
| From: Michael Dummett (Thought and Reality [1997], 1) | |
| A reaction: [He cites early Wittgenstein as an example] But 'no patch of red here' (or sense-datum) seems identical to 'no patch of green here'. I suppose you could catalogue all the atomic facts, and note that red wasn't among them. But you could do that for birds. |
| 8161 | We know we can state facts, with true statements [Dummett] |
| Full Idea: One thing we know about facts, namely that we can state them. Whenever we make some true statement, we state some fact. | |
| From: Michael Dummett (Thought and Reality [1997], 1) | |
| A reaction: Then facts become boring, and are subsumed within the problem of what 'true' means. Personally I have a concept of facts which includes unstatable facts. The physical basis of melancholy I take to be a complex fact which is beyond our powers. |
| 8180 | 'That is red or orange' might be considered true, even though 'that is red' and 'that is orange' were not [Dummett] |
| Full Idea: A statement of the form 'that is red or orange', said of something on the borderline between the two colours, might rank as true, although neither 'that is red' nor 'that is orange' was true. | |
| From: Michael Dummett (Thought and Reality [1997], 5) | |
| A reaction: It seems to me that the problem here would be epistemological rather than ontological. One of the two is clearly true, but sometimes we can't decide which. How can anyone say 'It isn't red and it isn't orange, but it is either red or orange'? |
| 8178 | Empirical and a priori knowledge are not distinct, but are extremes of a sliding scale [Dummett] |
| Full Idea: Our sentences cannot be divided into two classes, empirical and a priori, the truth of one to be decided by observation, the other by ratiocination. They lie on a scale, with observational sentences at one end, and mathematical ones at the other. | |
| From: Michael Dummett (Thought and Reality [1997], 5) | |
| A reaction: The modern post-Kantian dissolution of the rationalist-empiricist debate. I would say that mathematical sentences require no empirical evidence (for their operation, rather than foundation), but a bit of reasoning is involved in observation. |
| 8175 | A theory of thought will include propositional attitudes as well as propositions [Dummett] |
| Full Idea: A comprehensive theory of thought will include such things as judgement and belief, as well as the mere grasp of propositions. | |
| From: Michael Dummett (Thought and Reality [1997], 4) | |
| A reaction: This seems to make any theory of thought a neat two-stage operation. Beware of neatness. While propositions might be explained using concepts, syntax and truth, the second stage looks faintly daunting. See Idea 2209, for example. |
| 8174 | The theories of meaning and understanding are the only routes to an account of thought [Dummett] |
| Full Idea: For the linguistic philosopher, the theory of meaning, and the theory of understanding that is built upon it, form the only route to a philosophical account of thought. | |
| From: Michael Dummett (Thought and Reality [1997], 4) | |
| A reaction: I am of the party that thinks thought is prior to language (esp. because of animals), but Dummett's idea does not deny this. He may well be right that this is the 'only route'. We can only hope to give an account of human thought. |
| 8165 | To 'abstract from' is a logical process, as opposed to the old mental view [Dummett] |
| Full Idea: The phrase 'abstracted from' does not refer to the mental process of abstraction by disregarding features of concrete objects, in which many nineteenth century thinkers believed; it is a logical (not mental) process of concept-formation. | |
| From: Michael Dummett (Thought and Reality [1997], 1) | |
| A reaction: I take Frege's attack on 'psychologism' to be what dismissed the old view (Idea 5816). Could one not achieve the same story by negating properties in quantified logical expressions, instead of in the mind? |
| 8168 | To know the truth-conditions of a sentence, you must already know the meaning [Dummett] |
| Full Idea: You can know the condition for a sentence to be true only when you know what the sentence means. | |
| From: Michael Dummett (Thought and Reality [1997], 3) | |
| A reaction: This makes the truth-conditions theory of meaning circular, and is Dummett's big objection to Davidson's view. The composition of a sentence creates a model of a world. Truth-conditions may only presuppose knowledge of concepts. |
| 8181 | A justificationist theory of meaning leads to the rejection of classical logic [Dummett] |
| Full Idea: If we adopt a justificationist theory of meaning, we must reject the universal law of excluded middle, and with it classical logic (which rests on the two-valued semantics of bivalence). We admit only intuitionist logic, which preserves justifiability. | |
| From: Michael Dummett (Thought and Reality [1997], 5) | |
| A reaction: This is Dummett's philosophy in a very neat nutshell. He seems to have started by accepting Brouwer's intuitionism, and then working back to language. It all implies anti-realism. I don't buy it. |
| 8182 | Verificationism could be realist, if we imagined the verification by a superhuman power [Dummett] |
| Full Idea: There is a possible route to realism, which has been called 'ideal verificationism', if we base our grasping the understanding and truth of a range of sentences on the procedure that would be available to an imagined being with superhuman powers. | |
| From: Michael Dummett (Thought and Reality [1997], 5) | |
| A reaction: This is actually a slippery slope for verificationists, as soon as they allow that verification could be done by other people. A verifier might turn up who had telepathy, or x-ray vision, or could see quarks... |
| 8183 | If truths about the past depend on memories and current evidence, the past will change [Dummett] |
| Full Idea: If justificationists succumb to the temptation for statements in the past, we shall view their senses as given by present memories and present traces of past events; but this will force us into a view of the past as itself changing. | |
| From: Michael Dummett (Thought and Reality [1997], 6) | |
| A reaction: Obviously Dummett attempts to sidestep this problem, but it strikes me as powerful support for the realist view about the past. How can we not be committed to the view that there are facts about the past quite unconnected to our verifying abilities? |
| 8176 | We could only guess the meanings of 'true' and 'false' when sentences were used [Dummett] |
| Full Idea: Even if we guessed that the two words denoted the two truth-values, we should not know which stood for the value 'true' and which for the value 'false' until we knew how the sentences were in practice used. | |
| From: Michael Dummett (Thought and Reality [1997], 4) | |
| A reaction: These types of problem are always based on the idea that some one item must have logical priority in the process, but there is a lot of room for benign circularity in the development of mental and linguistic functions. |
| 8170 | Sentences are the primary semantic units, because they can say something [Dummett] |
| Full Idea: While words are semantic atoms, sentences remain the primary semantic units, in the sense of the smallest bits of language by means of which it is possible to say anything. | |
| From: Michael Dummett (Thought and Reality [1997], 3) | |
| A reaction: Syncategorematic terms (look it up!) may need sentences, but most nouns and verbs can communicate quite a lot on their own. Whether words or sentences come first may not be a true/false issue. |
| 8169 | We can't distinguish a proposition from its content [Dummett] |
| Full Idea: No distinction can be drawn between a proposition and its content; no two distinct propositions can have the same content. | |
| From: Michael Dummett (Thought and Reality [1997], 3) | |
| A reaction: And one proposition cannot have two possible contents (ambiguity). Are we to say that a proposition supervenes on its content, or that proposition and content are identical? Ockham favours the latter. |
| 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. |
| 20195 | Eudaimonia first; virtue is a trait which promotes it; right acts are what virtues produce [Hursthouse, by Zagzebski] |
| Full Idea: Hursthouse defines a virtue as a trait humans need to flourish or live well, ...so 'eudaimonia' is conceptually foundational, the concept of virtue is then derived, and the concept of a right act is derived from that. | |
| From: report of Rosalind Hursthouse (Virtue Theory and Abortion [1992], p.226) by Linda Trinkaus Zagzebski - Virtues of the Mind II.1 | |
| A reaction: Zagzebski is mapping different types of virtue theory. The purest theories say that virtue is intrinsically good. The others seem to be instrumental, in varying degrees. Zagzebski makes good motivations prior. |
| 8186 | Time is the measure of change, so we can't speak of time before all change [Dummett] |
| Full Idea: Time is the measure of change, and it makes no sense to speak of how things were before there was anything that changed. | |
| From: Michael Dummett (Thought and Reality [1997], 8) | |
| A reaction: Something creating its own measure sounds like me marking my own exam papers. If an object appears, then inverts five seconds later, how can the inversion create the five seconds? How does that differ from inverting ten seconds later? |
| 8167 | If Presentism is correct, we cannot even say that the present changes [Dummett] |
| Full Idea: If Presentism is correct - the doctrine that there is nothing at all, save what holds good at the present moment - then we cannot even say that the present changes, because that requires that things are not now as they were some time ago. | |
| From: Michael Dummett (Thought and Reality [1997], 2) | |
| A reaction: Presumably we can compare our present memory with our present experience. See Idea 6668. The logic (very ancient!) is that the present has not duration at all, and so no experiences can occur during it. |