12 ideas
| 18439 | Because things can share attributes, we cannot individuate attributes clearly [Quine] |
| Full Idea: No two classes have exactly the same members, but two different attributes may be attributes of exactly the same things. Classes are identical when their members are identical. ...On the other hand, attributes have no clear principle of individuation. | |
| From: Willard Quine (On the Individuation of Attributes [1975], p.100) |
| 18442 | You only know an attribute if you know what things have it [Quine] |
| Full Idea: May we not say that you know an attribute only insofar as you know what things have it? | |
| From: Willard Quine (On the Individuation of Attributes [1975], p.106) | |
| A reaction: Simple, and the best defence of class nominalism (a very implausible theory) which I have encountered. Do I have to know all the things? Do I not know 'red' if I don't know tomatoes have it? |
| 18441 | No entity without identity (which requires a principle of individuation) [Quine] |
| Full Idea: We have an acceptable notion of class, or physical object, or attribute, or any other sort of object, only insofar as we have an acceptable principle of individuation for that sort of object. There is no entity without identity. | |
| From: Willard Quine (On the Individuation of Attributes [1975], p.102) | |
| A reaction: Note that this is his criterion for an 'acceptable' notion. Presumably that is for science. It permits less acceptable notions which don't come up to the standard. And presumably true things can be said about the less acceptable entities. |
| 18440 | Identity of physical objects is just being coextensive [Quine] |
| Full Idea: Physical objects are identical if and only if coextensive. | |
| From: Willard Quine (On the Individuation of Attributes [1975], p.101) | |
| A reaction: The supposed counterexample to this is the statue and the clay it is made of, which are said to have different modal properties (destroying the statue doesn't destroy the clay). |
| 19553 | Commitment to 'I have a hand' only makes sense in a context where it has been doubted [Hawthorne] |
| Full Idea: If I utter 'I know I have a hand' then I can only be reckoned a cooperative conversant by my interlocutors on the assumption that there was a real question as to whether I have a hand. | |
| From: John Hawthorne (The Case for Closure [2005], 2) | |
| A reaction: This seems to point to the contextualist approach to global scepticism, which concerns whether we are setting the bar high or low for 'knowledge'. |
| 19551 | How can we know the heavyweight implications of normal knowledge? Must we distort 'knowledge'? [Hawthorne] |
| Full Idea: Those who deny skepticism but accept closure will have to explain how we know the various 'heavyweight' skeptical hypotheses to be false. Do we then twist the concept of knowledge to fit the twin desiderata of closue and anti-skepticism? | |
| From: John Hawthorne (The Case for Closure [2005], Intro) | |
| A reaction: [He is giving Dretske's view; Dretske says we do twist knowledge] Thus if I remember yesterday, that has the heavyweight implication that the past is real. Hawthorne nicely summarises why closure produces a philosophical problem. |
| 19552 | We wouldn't know the logical implications of our knowledge if small risks added up to big risks [Hawthorne] |
| Full Idea: Maybe one cannot know the logical consequences of the proposition that one knows, on account of the fact that small risks add up to big risks. | |
| From: John Hawthorne (The Case for Closure [2005], 1) | |
| A reaction: The idea of closure is that the new knowledge has the certainty of logic, and each step is accepted. An array of receding propositions can lose reliability, but that shouldn't apply to logic implications. Assuming monotonic logic, of course. |
| 19554 | Denying closure is denying we know P when we know P and Q, which is absurd in simple cases [Hawthorne] |
| Full Idea: How could we know that P and Q but not be in a position to know that P (as deniers of closure must say)? If my glass is full of wine, we know 'g is full of wine, and not full of non-wine'. How can we deny that we know it is not full of non-wine? | |
| From: John Hawthorne (The Case for Closure [2005], 2) | |
| A reaction: Hawthorne merely raises this doubt. Dretske is concerned with heavyweight implications, but how do you accept lightweight implications like this one, and then suddenly reject them when they become too heavy? [see p.49] |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |