32 ideas
| 9593 | Progress in philosophy is incremental, not an immature seeking after drama [Williamson] |
| Full Idea: The incremental progress which I envisage for philosophy lacks the drama after which some philosophers still hanker, and that hankering is itself a symptom of the intellectual immaturity that helps hold philosophy back. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], Intro) | |
| A reaction: This could stand as a motto for the whole current profession of analytical philosophy. It means that if anyone attempts to be dramatic they can make their own way out. They'll find Kripke out there, smoking behind the dustbins. |
| 6602 | Philosophy is like a statue which is worshipped but never advances [Bacon] |
| Full Idea: Philosophy and the intellectual sciences stand like statues, worshipped and celebrated, but not moved or advanced. | |
| From: Francis Bacon (Preface to Great Instauration (Renewal) [1620], Vol.4.14), quoted by Robert Fogelin - Walking the Tightrope of Reason Ch.5 | |
| A reaction: Still the view of most scientists, I suspect. Personally I disagree, because I think philosophy has made enormous advances, in accurate analysis of arguments. The trouble is there is so much of it that it is hard to discern, and we don't live long enough. |
| 9594 | Correspondence to the facts is a bad account of analytic truth [Williamson] |
| Full Idea: Even if talk of truth as correspondence to the facts is metaphorical, it is a bad metaphor for analytic truth in a way that it is not for synthetic truth. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], 3.1) | |
| A reaction: A very simple and rather powerful point. Maybe the word 'truth' should be withheld from such cases. You might say that accepted analytic truths are 'conventional'. If that is wrong, then they correspond to natural facts at a high level of abstraction. |
| 9601 | The realist/anti-realist debate is notoriously obscure and fruitless [Williamson] |
| Full Idea: The debate between realism and anti-realism has become notorious in the rest of philosophy for its obscurity, convolution, and lack of progress. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], After) | |
| A reaction: I find this reassuring, because fairly early on I decided that this problem was not of great interest, and quietly tiptoed away. I take the central issue to be whether nature has 'joints', to which the answer appears to be 'yes'. End of story. |
| 9599 | There cannot be vague objects, so there may be no such thing as a mountain [Williamson] |
| Full Idea: It is sometimes argued that if there is such a thing as a mountain it would be a vague object, but it is logically impossible for an object to be vague, so there is no such thing as a mountain. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], 7.2) | |
| A reaction: I don't take this to be a daft view. No one is denying the existence of the solid rock that is involved, but allowing such a vague object may be a slippery slope to the acceptance of almost anything as an 'object'. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 9602 | Common sense and classical logic are often simultaneously abandoned in debates on vagueness [Williamson] |
| Full Idea: The constraints of common sense and classical logic are often simultaneously abandoned in debates on vagueness. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], After) | |
| A reaction: Wiliamson has described himself (in my hearing) as a 'rottweiller realist', but presumably the problem of vagueness interests a lot of people precisely because it pushes us away from common sense and classical logic. |
| 9598 | Modal thinking isn't a special intuition; it is part of ordinary counterfactual thinking [Williamson] |
| Full Idea: The epistemology of metaphysical modality requires no dedicated faculty of intuition. It is simply a special case of the epistemology of counterfactual thinking, a kind of thinking tightly integrated with our thinking about the spatio-temporal world. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], 5.6) | |
| A reaction: This seems to me to be spot-on, though it puts the focus increasingly on the faculty of imagination, as arguably an even more extraordinary feature of brains than the much-vaunted normal consciousness. |
| 16536 | Williamson can't base metaphysical necessity on the psychology of causal counterfactuals [Lowe on Williamson] |
| Full Idea: The psychological mechanism that Williamson proposes as the supposedly reliable source of our knowledge of necessities only seems applicable to counterfactuals that are distinctively causal, not metaphysical, in character. | |
| From: comment on Timothy Williamson (The Philosophy of Philosophy [2007]) by E.J. Lowe - What is the Source of Knowledge of Modal Truths? 5 | |
| A reaction: My rough impression of Williamson's account is that it is correct but unilluminating. We have to assess necessities by counterfactual thinking, because nothing else is available (apart from evaluating the coherence of the findings). |
| 9596 | We scorn imagination as a test of possibility, forgetting its role in counterfactuals [Williamson] |
| Full Idea: The epistemology of modality often focuses on (and pours scorn on) imagination or conceivability as a test of possibility, while ignoring the role of the imagination in the assessment of mundane counterfactuals. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], 5.4) | |
| A reaction: Good point. I've been guilty of this easy scorn myself. Williamson gives our modal capacities an evolutionary context. What is needed is well-informed imagination, rather than wild fantasy. |
| 9597 | There are 'armchair' truths which are not a priori, because experience was involved [Williamson] |
| Full Idea: There is extensive 'armchair knowledge' in which experience plays no strictly evidential role, but it may not fit the stereotype of the a priori, because the contribution of experience was more than enabling, such as armchair truths about our environment. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], 5.5) | |
| A reaction: Once this point is conceded we have no idea where to draw the line. Does 'if it is red it can't be green' derive from experience? I think it might. |
| 16724 | The senses deceive, but also show their own errors [Bacon] |
| Full Idea: It is certain that the senses deceive, but they also testify to their own errors. | |
| From: Francis Bacon (Preface to Great Instauration (Renewal) [1620], p.32), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 22.1 | |
| A reaction: Nice. This is the empiricist view, rather than the rationalist line that reason sorts out the mess created by the senses. Most people know things if you just show them. |
| 9592 | Intuition is neither powerful nor vacuous, but reveals linguistic or conceptual competence [Williamson] |
| Full Idea: Crude rationalists postulate a special knowledge-generating faculty of rational intuition. Crude empiricists regard intuition as an obscurantist term of folk psychology. Linguistic/conceptual philosophy says it reveals linguistic or conceptual competence. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], Intro) | |
| A reaction: Kripke seems to think that it is the basis of logical competence. I would use it as a blank term for any insight in which we have considerable confidence, and yet are unable to articulate its basis; roughly, for rational thought that evades logic. |
| 20181 | When analytic philosophers run out of arguments, they present intuitions as their evidence [Williamson] |
| Full Idea: 'Intuition' plays a major role in contemporary analytic philosophy's self-understanding. ...When contemporary analytic philosophers run out of arguments, they appeal to intuitions. ...Thus intuitions are presented as our evidence in philosophy. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], p.214-5), quoted by Herman Cappelen - Philosophy without Intuitions 01.1 | |
| A reaction: Williamson says we must investigate this 'scandal', but Cappelen's book says analytic philosophy does not rely on intuition. |
| 6603 | Nature is revealed when we put it under pressure rather than observe it [Bacon] |
| Full Idea: The secrets of nature reveal themselves more readily under the vexations of art than when they go their own way. | |
| From: Francis Bacon (Preface to Great Instauration (Renewal) [1620], Vol.4.95), quoted by Robert Fogelin - Walking the Tightrope of Reason Ch.5 | |
| A reaction: This is a splendid slogan for the dawn of the age of science, and pinpoints the reason why we have advanced so much further than the Greeks. You can, of course, overdo the 'vexations of art'. It also justifies the critical approach to philosophy. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 9595 | You might know that the word 'gob' meant 'mouth', but not be competent to use it [Williamson] |
| Full Idea: Someone who acquires the word 'gob' just by being reliably told that it is synonymous with 'mouth' knows what 'gob' means without being fully competent to use it. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], 4.7) | |
| A reaction: Not exactly an argument against meaning-as-use, but a very nice cautionary example to show that 'knowing the meaning' of a word may be a rather limited, and dangerous, achievement. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 9600 | If languages are intertranslatable, and cognition is innate, then cultures are all similar [Williamson] |
| Full Idea: Given empirical evidence for the approximate intertranslatability of all human languages, and a universal innate basis of human cognition, we may wonder how 'other' any human culture really is. | |
| From: Timothy Williamson (The Philosophy of Philosophy [2007], 8.1) | |
| A reaction: This seems to be a fairly accurate account of the situation. In recent centuries people seem to have been over-impressed by superficial differences in cultural behaviour, but we increasingly see the underlying identity. |