10 ideas
| 5504 | Maybe we should see persons in four dimensions, with stages or time-slices at an instant [Martin/Barresi] |
| Full Idea: Some recent philosophers have argued that we should replace the three-dimensional view of persons with a four-dimensional view according to which only time-slices, or 'stages', of persons exist at short intervals of time. | |
| From: R Martin / J Barresi (Introduction to 'Personal Identity' [2003], p.3) | |
| A reaction: At first glance this seems to neatly eliminate lots of traditional worries. But why would I want to retain my identity, if someone threatened to brainwash me. I also want to disown my inadequate earlier selves. Interesting, though. Lewis. |
| 5503 | Maybe personal identity is not vital in survival, and other continuations would suffice [Martin/Barresi] |
| Full Idea: A modern question is whether personal identity is primarily what matters in survival; that is, people might cease and be continued by others whose continuation the original people would value as much. | |
| From: R Martin / J Barresi (Introduction to 'Personal Identity' [2003], p.3) | |
| A reaction: When put like this, the proposal seems hard to grasp. It only makes sense if you don't really believe in a thing called 'personal identity'. I don't see how you can believe in it without also believing that for you it has central importance. |
| 5502 | Locke's intrinsic view of personal identity has been replaced by an externalist view [Martin/Barresi] |
| Full Idea: In modern times the Lockean intrinsic relations view of personal identity has been superseded by an extrinsic relations view (also called the 'closest-continuer' or 'externalist' view). | |
| From: R Martin / J Barresi (Introduction to 'Personal Identity' [2003], p.1) | |
| A reaction: Sounds sweeping. My suspicion is that there is a raging fashion for externalist views of everything (justification, content etc.), but this will pass. I take Parfit to be the source of the modern views. |
| 20440 | Art is a referential activity, hence indefinable, but it has a set of symptoms [Goodman] |
| Full Idea: No definition of art is possible (since it is a referential activity), …but the symptoms of art are syntactic density, semantic density, syntactic repleteness, exemplificationality, and multiple and complex reference. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.22-255), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: I wish these labels were more self-explanatory. Goodman seems to want to assimilate art to his earlier interests in linguistic anti-realism and mereology. I wouldn't have thought he now had many followers. |
| 20439 | Artistic symbols are judged by the fruitfulness of their classifications [Goodman, by Giovannelli] |
| Full Idea: Artistic symbols are to be judged for the classifications they bring about, for how novel and insightful those classifications are, for how they change our world perceptions and relations. | |
| From: report of Nelson Goodman (Languages of Art (2nd edn) [1968]) by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: This seems to be an awfully long way from our normal experience of art. I understand 'symbols' in early Flemish art, but not in Mondriaan, or even Rembrandt. |
| 20438 | A performance is only an instance of a work if there is not a single error [Goodman] |
| Full Idea: The most miserable performance without actual mistakes does count as an instance of a work, …but the most brilliant performance with a single wrong note does not. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.186), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) | |
| A reaction: Mereological essentialism applied to art! You need to be a highly theoretical and technical philosopher (which Goodman was) to maintain such a weird and contrary-usage proposal. |
| 20437 | A copy only becomes an 'instance' of an artwork if there is a system of notation [Goodman] |
| Full Idea: Paintings and sculptures do not work within a notation; hence, there is no copying of an original that would preserve its originality. A copy of a painting is a copy, not an instance of the original. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.212), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 2 | |
| A reaction: Sounds conclusive, but isn't. Is a poetry manuscript a 'notation' or an original? Why is an etching plate a notation, but painting on canvas is an original? Can I create a painting specifically so that it can be copied (by my students)? Intention matters. |
| 16713 | Philosophers are the forefathers of heretics [Tertullian] |
| Full Idea: Philosophers are the forefathers of heretics. | |
| From: Tertullian (works [c.200]), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 20.2 |
| 6610 | I believe because it is absurd [Tertullian] |
| Full Idea: I believe because it is absurd ('Credo quia absurdum est'). | |
| From: Tertullian (works [c.200]), quoted by Robert Fogelin - Walking the Tightrope of Reason n4.2 | |
| A reaction: This seems to be a rather desperate remark, in response to what must have been rather good hostile arguments. No one would abandon the support of reason if it was easy to acquire. You can't deny its engaging romantic defiance, though. |
| 5505 | For Aristotle the psyche perishes with the body (except possibly 'nous') [Martin/Barresi] |
| Full Idea: In Aristotle's view, with the possible exception of 'nous' the psyche and all its parts come into being at the same time as its associated body; it is inseparable from the body, and perishes along with it. | |
| From: R Martin / J Barresi (Introduction to 'Personal Identity' [2003], p.8) | |
| A reaction: It is suggested that he thought there was only one 'nous', which all humans share (p.9). If he wants to claim that one part is immortal, he doesn't have much evidence. If psyche is the form of the body, it is bound to perish. |