38 ideas
| 9327 | Organisms understand their worlds better if they understand themselves [Gulick] |
| Full Idea: Organisms come to better understand their worlds by coming to better understand themselves and the ways in which their own structures engage their worlds. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §III) | |
| A reaction: Van Gulick is defending a higher-order theory of consciousness, but this strikes me as a good rationale for the target of philosophy, which has increasingly (since Descartes) focused on understanding our own minds. |
| 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. |
| 15510 | Classes are a host of ethereal, platonic, pseudo entities [Goodman] |
| Full Idea: I will not willingly use apparatus that peoples the world with a host of ethereal, platonic, pseudo entities. | |
| From: Nelson Goodman (The Structure of Appearance [1951], II.2), quoted by David Lewis - Parts of Classes 2.1 | |
| A reaction: This represents the big gap that opened up with Goodman's former comrade in arms, Quine. Lewis quotes it in order to ask whether he means ethereal or platonic, as they are very different. I sympathise with Goodman. |
| 9920 | Two objects can apparently make up quite distinct arrangements in sets [Goodman, by Burgess/Rosen] |
| Full Idea: Goodman argues that the set or class {{a}},{a,b}} is supposed to be distinct from the set or class {{b},{a,b}}, even though both are ultimately constituted from the same a and b. | |
| From: report of Nelson Goodman (The Structure of Appearance [1951]) by JP Burgess / G Rosen - A Subject with No Object I.A.2.a | |
| A reaction: I'm with Goodman all the way here, even though it is deeply unfashionable, particularly in the circles I move in. If there are trillion grains of sand on a beach, how many sets are we supposed to be committed to? |
| 10657 | The counties of Utah, and the state, and its acres, are in no way different [Goodman] |
| Full Idea: A class (counties of Utah) is different neither from the individual (state of Utah) that contains its members, nor from any other class (acres of Utah) whose members exhaust the whole. For nominalists, distinction of entity means distinction of content. | |
| From: Nelson Goodman (The Structure of Appearance [1951], p.26), quoted by Achille Varzi - Mereology 3.1 | |
| A reaction: This is a nice credo for the nominalist version of mereology. You can still have a mereology that commits you to the wholes as well as the parts. Cf. Lewis in Idea 10660. |
| 7956 | If all and only red things were round things, we would need to specify the 'respect' of the resemblance [Goodman, by Macdonald,C] |
| Full Idea: According to Goodman's 'companionship difficulty', resemblance nominalism has a problem if, say, all and only the red things were the round things, because we cannot distinguish the two different respects in which the things resemble one another. | |
| From: report of Nelson Goodman (The Structure of Appearance [1951]) by Cynthia Macdonald - Varieties of Things Ch.6 | |
| A reaction: Goodman opts for extreme linguististic nominalism in response to this (Idea 7952), whereas Russell opts for a sort of Platonism (4441). The current idea gives Russell a further problem, of needing a universal of the respect of the resemblance. |
| 7957 | Without respects of resemblance, we would collect blue book, blue pen, red pen, red clock together [Goodman, by Macdonald,C] |
| Full Idea: Goodman's 'imperfect community' problem for Resemblance Nominalism says that without mention of respects in which things resemble, we end up with a heterogeneous collection with nothing wholly in common (blue book, blue pen, red pen, red clock). | |
| From: report of Nelson Goodman (The Structure of Appearance [1951]) by Cynthia Macdonald - Varieties of Things Ch.6 | |
| A reaction: This suggests Wittgenstein's 'family' resemblance as a way out (Idea 4141), but a blue book and a red clock seem totally unrelated. Nice objection! At this point we start to think that the tropes resemble, rather than the objects. |
| 7952 | If we apply the same word to different things, it is only because we are willing to do so [Goodman, by Macdonald,C] |
| Full Idea: Predicate nominalism is the view that what all things to which the same word applies have in common is simply our willingness to apply the same word to them. | |
| From: report of Nelson Goodman (The Structure of Appearance [1951], Ch.6) by Cynthia Macdonald - Varieties of Things | |
| A reaction: This is Goodman's 'extreme nominalist' position. This seems also to be an anti-realist position, as it denies any 'joints' to nature (Idea 7953). It strikes me as daft. WHY are we willing to apply words in certain ways? |
| 9325 | In contrast with knowledge, the notion of understanding emphasizes practical engagement [Gulick] |
| Full Idea: In contrast with standard notions of knowledge, the concept of understanding emphasizes the element of practical engagement from the outset. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §II) | |
| A reaction: This could be the very interesting germ of a huge revolution in our approach to epistemology, which I find rather appealing. Plato's desire that knowledge should have 'logos' seems to me in the same area. It sounds rather internalist, which is good. |
| 9326 | Knowing-that is a much richer kind of knowing-how [Gulick] |
| Full Idea: Knowing-that is a much richer kind of knowing-how. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §II) | |
| A reaction: This thought could rather rapidly revive the discredited notion of knowing-how. I think it might slot into an account of the mind in terms of levels, so that my internalist view of knowledge emerges at higher levels, built on more basic responses. |
| 9319 | Is consciousness a type of self-awareness, or is being self-aware a way of being conscious? [Gulick] |
| Full Idea: Is consciousness just a special type of self-awareness, or is being self-aware a special way of being conscious? | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], Intro) | |
| A reaction: This is a really good key question, which has hovered over the debate since Locke's definition of a person (as 'self-aware'). I take the self to be a mechanism of most brains, which is prior to consciousness. Maybe the two are inseparable. |
| 9320 | Higher-order theories divide over whether the higher level involves thought or perception [Gulick] |
| Full Idea: Higher-order thought (HOT) models treat metastates as thought-like, and higher-order perception (HOP) models regard them as at least quasi-perceptual and resulting from some form of inner monitoring or inner sense. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §I) | |
| A reaction: I would understand 'thought' to at least partially involve judgements. The HOT theory (Carruthers) seems to suit epistemological foundationalists, who want truth to enter on the ground floor. This pushes me towards the HOP model (Lycan) as more plausible. |
| 9321 | Higher-order models reduce the problem of consciousness to intentionality [Gulick] |
| Full Idea: Higher-order models would effectively reduce the problem of consciousness to that of intentionality. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §I) | |
| A reaction: This gives the bigger picture - that higher-order theories are the cutting edge of attempts to give a naturalistic, reductivist account of consciousness. That seems to be the only way to go, so we should encourage them in the enterprise. |
| 9322 | Maybe qualia only exist at the lower level, and a higher-level is needed for what-it-is-like [Gulick] |
| Full Idea: Some higher-order theorists say we have qualitative but unconscious mental states of color or pain (qualia), but there is nothing it is like to be in such a state, which needs higher-order awareness. The meta-states are devoid of qualia. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006], §I.5) | |
| A reaction: He calls this the 'stranded qualia' problem. Clearly one begins to sharpen Ockham's Razor at this point, if the higher-level state isn't contributing something. I don't rule out unconscious qualia. The strength of a real pain is distorted in a dream. |
| 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. |
| 9324 | From the teleopragmatic perspective, life is largely an informational process [Gulick] |
| Full Idea: From the teleopragmatic perspective, life itself is largely an informational process. | |
| From: Robert van Gulick (Mirror Mirror - Is That All? [2006]) | |
| A reaction: From the cynical perspective a human is just 'blood and foul smell in a bag', but that may not give you whole story. The point here is that the informational view will cover both the genetic and the mental levels of human life. True but unilluminating? |