3 ideas
| 14296 | Dispositions are physical states of mechanism; when known, these replace the old disposition term [Quine] |
| Full Idea: Each disposition, in my view, is a physical state or mechanism. ...In some cases nowadays we understand the physical details and set them forth explicitly in terms of the arrangement and interaction of small bodies. This replaces the old disposition. | |
| From: Willard Quine (The Roots of Reference [1990], p.11), quoted by Stephen Mumford - Dispositions 01.3 | |
| A reaction: A challenge to the dispositions and powers view of nature, one which rests on the 'categorical' structural properties, rather than the 'hypothetical' dispositions. But can we define a mechanism without mentioning its powers? |
| 3789 | The more reasons that compel me, the freer I am [Descartes] |
| Full Idea: I move the more freely towards an object in proportion to the number of reasons which compel me. | |
| From: René Descartes (Letter to Mersenne [1642]) |
| 20328 | A thing is only seen as art in an 'artworld', which has a theory and a history [Danto] |
| Full Idea: To see something as art requires something the eye cannot descry - an atmosphere of artistic theory, a knowledge of the history of art: an artworld. | |
| From: Arthur C. Danto (The Artworld [1964], II) | |
| A reaction: The editors of the volume call this a revolutionary remark, followed up by Danto and George Dickie with a social and institutional account of art. Danto's key example is Warhol's Brillo pads - art in a gallery, cleaning material in a shop. |