55 ideas
| 22101 | Philosophy aims to know the truth about the way things are [Aquinas] |
| Full Idea: The study of philosophy has as its purpose to know not what people have thought, but rather the truth about the way things are. | |
| From: Thomas Aquinas (Sententia on 'De Caelo' [1268], I.22.228), quoted by Kretzmann/Stump - Aquinas, Thomas 05 | |
| A reaction: I agree with this deeply unfashionable opinion. Of course, modern investigations must be more sensitive to biases built into language, culture and conceptual schemes. But I am one of those sad old folks who still think truths can be stated. |
| 21634 | Metaphysics is (supposedly) first the ontology, then in general what things are like [Hofweber] |
| Full Idea: Metaphysics can be divided into two parts: first ontology, which is supposed to tell us what there is in general. The second part is the rest of metaphysics, which is supposed to tell us what these things are like, in various general ways. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 01.1) | |
| A reaction: Hofweber is a fairly sceptical guide to metaphysics, but this has been the standard view for the last decade. Before that, Quine had set an agenda of mere ontology. |
| 21666 | 'Fundamentality' is either a superficial idea, or much too obscure [Hofweber] |
| Full Idea: The dilemma of neo-Aristotelian metaphysics is that on an ordinary reading of prioriy, 'fundamentality' won't give the intended results, and on a metaphysical reading it turns into esoteric metaphysics. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 13.4.2) | |
| A reaction: Hofweber is hostile to 'esoteric' metaphysics, but sympathetic to 'egalitarian' metaphysics, which anyone can understand (with a bit of effort). |
| 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. |
| 21640 | 'It's true that Fido is a dog' conjures up a contrast class, of 'it's false' or 'it's unlikely' [Hofweber] |
| Full Idea: 'It's true that Fido is a dog' gives rise to a contrastive focus on 'true', with the contrast class probably depending on members like 'it's false that...' or 'it's unlikely that...'. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 02.6.3) | |
| A reaction: If we introduce (from linguistics) the idea of a 'contrast class', then Ramsey's famous example begins to sound meaningful. It might occur in a discussion of 'did Antony actually say 'Friends, Romans. countrymen'?' |
| 21657 | Since properties can have properties, some theorists rank them in 'types' [Hofweber] |
| Full Idea: Since properties themselves can have properties there is a well-known division in the theory of properties between those who take a typed and those who take a type-free approach. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 08.5) | |
| A reaction: I take this idea to be about linguistic predicates, and about semantics which draws on model theory. To see it as about actual 'properties' in the physical world makes no sense. |
| 21653 | Maybe not even names are referential, but are just by used by speakers to refer [Hofweber] |
| Full Idea: A more radical alternative which takes names not to be referring even in the broader sense, but only takes speakers to refer with uses of names. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 08.1) | |
| A reaction: Given that you can make up nicknames and silly nonce names for people, this seems plausible. I may say a name in a crowded room and three people look up. |
| 21636 | 'Singular terms' are not found in modern linguistics, and are not the same as noun phrases [Hofweber] |
| Full Idea: Being a 'singular term' is not a category in contemporary syntactic theory and it doesn't correspond to any of the notions employed there like that of a singular noun phrase or the like. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 02.3) | |
| A reaction: Hofweber has researched such things. This is an important objection to the reliance of modern Fregeans on the ontological commitments of singular terms (as proof that there are 'mathematical objects'). |
| 21637 | If two processes are said to be identical, that doesn't make their terms refer to entities [Hofweber] |
| Full Idea: Identity between objects occurs in 'How Mary makes a chocolate cake is identical to how my grandfather used to make it', but does this show that 'how Mary makes a chocolate cake' aims to pick out an entity? | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 02.3) | |
| A reaction: This is a counterexample to the Fregean thought that the criterion for the existence of the referent of a singular term is its capacity to participate in an identity relation. Defenders of the Fregean view are aware of such examples. |
| 21643 | The inferential quantifier focuses on truth; the domain quantifier focuses on reality [Hofweber] |
| Full Idea: When we ask 'is there a number?' in its inferential role (or internalist) reading, then we ask whether or not there is a true instance of 't is a number'. When we ask in its domain conditions (externalist) reading, we ask if the world contains a number. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 03.6) | |
| A reaction: Hofweber's key distinction. The distinction between making truth prior and making reference prior is intriguing and important. The internalist version is close to substitutional quantification. Only the externalist view needs robust reference. |
| 21644 | Numbers are used as singular terms, as adjectives, and as symbols [Hofweber] |
| Full Idea: Number words have a singular term use, and adjectival (or determiner) use, and the symbolic use. The main question is how they relate to each other. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 05.1) | |
| A reaction: Thus 'the number four is even', 'there are four moons', and '4 comes after 3'. |
| 21646 | The Amazonian Piraha language is said to have no number words [Hofweber] |
| Full Idea: The now famous Piraha language, of the Amazon region in Brazil, allegedly has no number words. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 05.6) | |
| A reaction: Two groups can be shown to be of equal cardinality, by one-to-one matching rather than by counting. They could get by using 'equals' (and maybe unequally bigger and unequally smaller), and intuitive feelings for sizes of groups. |
| 21665 | The fundamental theorem of arithmetic is that all numbers are composed uniquely of primes [Hofweber] |
| Full Idea: The prime numbers are more fundamental than the even numbers, and than the composite non-prime numbers. The result that all numbers uniquely decompose into a product of prime numbers is called the 'Fundamental Theorem of Arithmetic'. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 13.4.2) | |
| A reaction: I could have used this example in my thesis, which defended the view that essences are the fundamentals of explanation, even in abstract theoretical realms. |
| 21649 | How can words be used for counting if they are objects? [Hofweber] |
| Full Idea: Number words as singular terms seem to refer to objects; numbers words in determiner or adjectival position are tied to counting. How these objects are related to counting is what the application problem is about. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 06.1.3) | |
| A reaction: You can't use stones for counting, so there must be more to numbers than the announcement that they are 'objects'. They seem to have internal relations, which makes them unusual objects. |
| 21647 | Logicism makes sense of our ability to know arithmetic just by thought [Hofweber] |
| Full Idea: Frege's tying the objectivity of arithmetic to the objectivity of logic makes sense of the fact that can find out about arithmetic by thinking alone. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 06.1.1) | |
| A reaction: This assumes that logic is entirely a priori. We might compare the geometry of land surfaces with 'pure' geometry. If numbers are independent objects, it is unclear how we could have any a priori knowledge of them. |
| 21648 | Neo-Fregeans are dazzled by a technical result, and ignore practicalities [Hofweber] |
| Full Idea: A major flaw of the neo-Fregean program is that it is more impressed by the technical result that Peano Arithmetic can be interpreted by second-order logic plus Hume's Principle, than empirical considerations about how numbers come about. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 06.1.3) | |
| A reaction: This doesn't sound like a problem that would bother Fregeans or neo-Fregeans much. Deriving the Peano Axioms from various beginnings has become a parlour game for modern philosophers of mathematics. |
| 21664 | Supervenience offers little explanation for things which necessarily go together [Hofweber] |
| Full Idea: The results from the use of supervenience in philosophical theorising are limited. In particular, modal notions can't distinguish between things which necessarily go together. For example, that truths about numbers are grounded in truths about sets. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 13.4.1) | |
| A reaction: [compressed] |
| 21660 | Reality can be seen as the totality of facts, or as the totality of things [Hofweber] |
| Full Idea: Reality can be seen as everything that is the case - the totality of all facts that obtain - or reality can be seen as everything there is - the totality of all things that exist. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 10) | |
| A reaction: Things are a lot easier to specify than facts, but on the whole I prefer facts, just in order to affirm that there is more to reality than the mere 'things' that compose it. Our ontology must capture the dynamic and relational character of reality. |
| 21661 | There are probably ineffable facts, systematically hidden from us [Hofweber] |
| Full Idea: We do have reason to think that there are ineffable facts, and that these facts are systematically hidden from us. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 10.2.4) | |
| A reaction: [Hofweber's Ch.10 is a lengthy and interesting discussion of ineffable facts] Things which are very very small, or very very remote in space seem obvious candidates. The most obvious candidates are tiny detail about the remote past. |
| 21652 | Our perceptual beliefs are about ordinary objects, not about simples arranged chair-wise [Hofweber] |
| Full Idea: The belief that there are simples arranged chair-wise is not a perceptual belief. Our perceptual beliefs have a content about ordinary objects, not simples arranged chair-wise. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 07.3.1) | |
| A reaction: Hofweber gives ontological priority to 'perceptual beliefs'. I'm inclined to agree, but I hear the critical hordes swarming against the gate. |
| 21663 | Counterfactuals are essential for planning, and learning from mistakes [Hofweber] |
| Full Idea: Counterfactuals are important for reasoning about the past and to plan for the future. If we want to learn from our mistakes, it is important to think about what would have happened if I had done things differently. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 13.4.1) | |
| A reaction: A thought also found in Tim Williamson, but not the sort of thing you hear from Lewis or Stalnaker. It is a nice example of how highly abstract and theoretical problems need to be slotted into human psychology. |
| 21654 | The "Fido"-Fido theory of meaning says every expression in a language has a referent [Hofweber] |
| Full Idea: The picture of language often called the "Fido"-Fido theory of meaning says every expression in natural languages refers; they simply differ in what they refer to. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 08.2) | |
| A reaction: It seems obvious that at least there are syncategorematic terms like 'not' and 'or' and 'maybe' that are internal to language. I'm inclining to the opposite view of Paul Pietroski. Hofweber says if all words are names, they can't add up to truth. |
| 21641 | Inferential role semantics is an alternative to semantics that connects to the world [Hofweber] |
| Full Idea: An inferential role semantics is generally seen as a large-scale alternative to a semantics based on reference and other language-world relations. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 03.4.5) | |
| A reaction: Presumably the other obvious language-world relation is truth. Being a robust realist, I take it I have to be strongly committed to semantics which connects to the world - or do I? Reality is robust, but our talk about it is evasive? |
| 21638 | Syntactic form concerns the focus of the sentence, as well as the truth-conditions [Hofweber] |
| Full Idea: Syntactic form is not only related to the truth conditions of a sentence; it is also related to what focus an utterance of a sentence will have. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 02.5.2) | |
| A reaction: Hofweber has commendably studied some linguistics. The idea of mental and linguistic 'focus' increasingly strikes me as of importance in many areas of philosophy. E.g. in the scope of ethics, on whom should you focus? |
| 21658 | Properties can be expressed in a language despite the absence of a single word for them [Hofweber] |
| Full Idea: Simply because there is no single word in a certain language for a certain property doesn't mean that it isn't expressible in that language. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 09.1.1) | |
| A reaction: Good. For example a shade of blue for which there is no label might be 'the next darkest discriminable shade of blue adjacent to the one we are looking at'. And then the one after that... But 'tastes better than Diet Pepsi' in ancient Greek? |
| 21659 | 'Being taller than this' is a predicate which can express many different properties [Hofweber] |
| Full Idea: It is said that not every property can be expressed because there are more properties than there are predicates. ...But the same predicate can be used to express many different properties: 'being taller than this' depends on what 'this' refers to. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 09.2) | |
| A reaction: A good example, but being a comparative and relying on a demonstrative indexical makes it a favourable example. 'Being made of iron' doesn't have much scope for expressing many properties. |
| 21655 | Compositonality is a way to build up the truth-conditions of a sentence [Hofweber] |
| Full Idea: Compositional semantics assigns semantic values to various expressions in order to generate the truth conditions of the sentences in which they can occur correctly, ...thus leading to the truth-conditions of the sentence. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 08.3) | |
| A reaction: I favour both the compositional and the truth-conditional accounts of semantics, but I am not sure how to fit the pragmatic and contextual ingredient into that picture. You can't leave out psychology. |
| 21656 | Proposition have no content, because they are content [Hofweber] |
| Full Idea: If there propositions then they do not have content, because they are content. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 08.4) | |
| A reaction: This sounds right. A rather obvious regress threatens if you say otherwise. |
| 21635 | Without propositions there can be no beliefs or desires [Hofweber] |
| Full Idea: If there are no propositions, then there are no contents, and thus there are no beliefs and desires. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 01.4.3) | |
| A reaction: A simple but powerful point. Those who claim that there are only sentences (and no propositions) can hardly claim that you must formulate a sentence every time you have a specific belief or desire. |
| 21662 | Do there exist thoughts which we are incapable of thinking? [Hofweber] |
| Full Idea: Might there be some thought token that has a different content than any such token we can in principle have? | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 10.3.3) | |
| A reaction: For me the idea that a thought might exist which can never be thought is an absurdity, but people who believe in the external existence of parts of reality called 'propositions' seem committed to it. A baffling view. |
| 21645 | 'Semantic type coercion' is selecting the reading of a word to make the best sense [Hofweber] |
| Full Idea: 'Semantic type coercion' is where an expression of variable type is forced to take a particular type on a particular occasion so that the sentence as a whole in which it occurse is semantically interpretable. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 05.4.4) | |
| A reaction: He compares 'and' in 'John sang and Mary danced' with 'John and Mary danced together', where 'and' can vary in type, and we adopt the reading that makes sense. Hofweber says we do this with number language. He favours 'cognitive need'. |
| 21639 | 'Background deletion' is appropriately omitting background from an answer [Hofweber] |
| Full Idea: 'Background deletion' is the pheomenon that what isn't focused in an answer, what is the background, can be left out of the answer, with the resulting sub-sentential answer nonetheless being appropriate. | |
| From: Thomas Hofweber (Ontology and the Ambitions of Metaphysics [2016], 02.6.2) | |
| A reaction: [I'm struck by the verbosity of this sentence, from an over-long book] It is not unreasonable to think that each conversational exchange has an implicit and agreed domain of quantification. Well, 'focus', then. |
| 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. |