35 ideas
| 8460 | Philosophers have given precise senses to deduction, probability, computability etc [Quine/Ullian] |
| Full Idea: Successful explications (giving a precise sense to a term) have been found for the concepts of deduction, probability and computability, to name just three. | |
| From: W Quine / J Ullian (The Web of Belief [1970], 65), quoted by Alex Orenstein - W.V. Quine Ch.3 | |
| A reaction: Quine also cites the concept of an 'ordered pair'. Orenstein adds Tarski's definition of truth, Russell's definite descriptions, and the explication of existence in terms of quantifications. Cf. Idea 2958. |
| 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. |
| 5745 | Quine says quantified modal logic creates nonsense, bad ontology, and false essentialism [Melia on Quine] |
| Full Idea: Quine charges quantified modal systems of logic with giving rise to unintended sense or nonsense, committing us to an incomprehensible ontology, and entailing an implausible or unsustainable Aristotelian essentialism. | |
| From: comment on Willard Quine (Existence and Quantification [1966]) by Joseph Melia - Modality Ch.3 | |
| A reaction: A nice summary. Personally I like essentialism in accounts of science (see Nature|Laws of Nature|Essentialism), so would like to save it in metaphysics. Possible worlds ontology may be very surprising, rather than 'incomprehensible'. |
| 8789 | Various strategies try to deal with the ontological commitments of second-order logic [Hale/Wright on Quine] |
| Full Idea: Quine said higher-order logic is 'set theory in sheep's clothing', and there is concern about the ontology that is involved. One approach is to deny quantificational ontological commitments, or say that the entities involved are first-order objects. | |
| From: comment on Willard Quine (Existence and Quantification [1966]) by B Hale / C Wright - Logicism in the 21st Century 8 | |
| A reaction: [compressed] The second strategy is from Boolos. This question seems to be right at the heart of the strategy of exploring our ontology through the study of our logic. |
| 16966 | Philosophers tend to distinguish broad 'being' from narrower 'existence' - but I reject that [Quine] |
| Full Idea: It has been fairly common in philosophy early and late to distinguish between being, as the broadest concept, and existence, as narrower. This is no distinction of mine; I mean 'exist' to cover all there is. | |
| From: Willard Quine (Existence and Quantification [1966], p.100) | |
| A reaction: I sort of agree with Quine, but 'being' has a role in philosophy that is not required in science and daily life, as the name of the central problem of ontology, which probably has to be broken down before any progress can happen. |
| 16965 | All we have of general existence is what existential quantifiers express [Quine] |
| Full Idea: Existence is what existential quantification expresses. …It is unreasonable to ask for an explication of (general) existence in simpler terms. …We may still ask what counts as evidence for existential quantifications. | |
| From: Willard Quine (Existence and Quantification [1966], p.97) | |
| A reaction: This has been orthodoxy for the last 60 years, with philosophers talking of 'quantifying over' instead of 'exists'. But are we allowed second-order logic, and plural quantification, and vague domains? |
| 16963 | Existence is implied by the quantifiers, not by the constants [Quine] |
| Full Idea: In the quantification '(∃)(x=a)', it is the existential quantifier, not the 'a' itself, which carries the existential import. | |
| From: Willard Quine (Existence and Quantification [1966], p.94) | |
| A reaction: The Fregean idea seems to be that the criterion of existence is participation in an equality, but here the equality seems not more than assigning a name. Why can't I quantify over 'sakes', in 'for the sake of the children'? |
| 16964 | Theories are committed to objects of which some of its predicates must be true [Quine] |
| Full Idea: Another way of saying what objects a theory requires is to say that they are the objects that some of the predicates of the theory have to be true of, in order for the theory to be true. | |
| From: Willard Quine (Existence and Quantification [1966], p.95) | |
| A reaction: The other was for the objects to be needed by the bound variables of the theory. This is the first-order approach, that predication is a commitment to an object. So what of predicates which have no application? |
| 4216 | Express a theory in first-order predicate logic; its ontology is the types of bound variable needed for truth [Quine, by Lowe] |
| Full Idea: According to Quine, we find the ontological commitments of a theory by expressing it in first-order predicate logic, then determining what kind of entities must be admitted as bound variables if the theory is true. | |
| From: report of Willard Quine (Existence and Quantification [1966]) by E.J. Lowe - A Survey of Metaphysics p.216 | |
| A reaction: To me this is horribly wrong. The ontological commitments of our language is not the same as ontology. What are the ontological commitments of a pocket calculator? |
| 18966 | Ontological commitment of theories only arise if they are classically quantified [Quine] |
| Full Idea: I hold that the question of the ontological commitment of a theory does not properly arise except as that theory is expressed in classical quantificational form. | |
| From: Willard Quine (Existence and Quantification [1966], p.106) | |
| A reaction: He is attacking substitutional quantification for its failure to commit. I smell circularity. If it must be quantified in the first-order classical manner, that restricts your ontology to objects before you've even started. Chicken/egg. |
| 14490 | You can be implicitly committed to something without quantifying over it [Thomasson on Quine] |
| Full Idea: Quine's test for ontological commitment ignores the fact that there are often implicit commitments to certain kinds of entities even where we are not yet quantifying over them. | |
| From: comment on Willard Quine (Existence and Quantification [1966]) by Amie L. Thomasson - Ordinary Objects 09.4 | |
| A reaction: Put this with the obvious problem (of which Quine is aware) that we don't quantify over 'sakes' in 'for the sake of the children', and quantification and commitment have been rather clearly pulled apart. |
| 16961 | In formal terms, a category is the range of some style of variables [Quine] |
| Full Idea: In terms of formalized quantification theory, each category comprises the range of some distinctive style of variable. | |
| From: Willard Quine (Existence and Quantification [1966], p.92) | |
| A reaction: I add this for those who dream of formalising everything, but be warned that even Quine thought it of little help in deciding on the categories. Presumably there would be some variable that ranged across tigers. |
| 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. |