45 ideas
| 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? |
| 16943 | Philosophy is continuous with science, and has no external vantage point [Quine] |
| Full Idea: I see philosophy not as an a priori propaedeutic or groundwork for science, but as continuous with science. I see philosophy and science as in the same boat. …There is no external vantage point, no first philosophy. | |
| From: Willard Quine (Natural Kinds [1969], p.126) | |
| A reaction: Philosophy is generalisation. Science holds the upper hand, because it settles the subject-matter to be generalised. |
| 2764 | Full coherence might involve consistency and mutual entailment of all propositions [Blanshard, by Dancy,J] |
| Full Idea: Blanshard says that in a fully coherent system there would not only be consistency, but every proposition would be entailed by the others, and no proposition would stand outside the system. | |
| From: report of Brand Blanshard (The Nature of Thought [1939], 2:265) by Jonathan Dancy - Intro to Contemporary Epistemology 8.1 | |
| A reaction: Hm. If a proposition is entailed by the others, then it is a necessary truth (given the others) which sounds deterministic. You could predict all the truths you had never encountered. See 1578:178 for quote. |
| 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. |
| 19080 | Coherence tests for truth without implying correspondence, so truth is not correspondence [Blanshard, by Young,JO] |
| Full Idea: Blanshard said that coherent justification leads to coherence truth. It might be said that coherence is a test for truth, but truth is correspondence. But coherence doesn't guarantee correspondence, and coherence is a test, so truth is not correspondence. | |
| From: report of Brand Blanshard (The Nature of Thought [1939], Ch.26) by James O. Young - The Coherence Theory of Truth §2.2 | |
| A reaction: [compression of Young's summary] Rescher (1973) says that Blanshard's argument depends on coherence being an infallible test for truth, which it isn't. |
| 16949 | Klein summarised geometry as grouped together by transformations [Quine] |
| Full Idea: Felix Klein's so-called 'Erlangerprogramm' in geometry involved characterizing the various branches of geometry by what transformations were irrelevant to each. | |
| From: Willard Quine (Natural Kinds [1969], p.137) |
| 16939 | Mass terms just concern spread, but other terms involve both spread and individuation [Quine] |
| Full Idea: 'Yellow' and 'water' are mass terms, concerned only with spread; 'apple' and 'square' are terms of divided reference, concerned with both spread and individuation. | |
| From: Willard Quine (Natural Kinds [1969], p.124) | |
| A reaction: Would you like some apple? Pass me that water. It is helpful to see that it is a requirement of 'individuation' that is missing from terms for stuff. |
| 16948 | Once we know the mechanism of a disposition, we can eliminate 'similarity' [Quine] |
| Full Idea: Once we can legitimize a disposition term by defining the relevant similarity standard, we are apt to know the mechanism of the disposition, and so by-pass the similarity. | |
| From: Willard Quine (Natural Kinds [1969], p.135) | |
| A reaction: I love mechanisms, but can we characterise mechanisms without mentioning powers and dispositions? Quine's dream is to eliminate 'similarity'. |
| 16945 | We judge things to be soluble if they are the same kind as, or similar to, things that do dissolve [Quine] |
| Full Idea: Intuitively, what qualifies a thing as soluble though it never gets into water is that it is of the same kind as the things that actually did or will dissolve; it is similar to them. | |
| From: Willard Quine (Natural Kinds [1969], p.130) | |
| A reaction: If you can judge that the similar things 'will' dissolve, you can cut to the chase and judge that this thing will dissolve. |
| 16944 | Science is common sense, with a sophisticated method [Quine] |
| Full Idea: Sciences differ from common sense only in the degree of methodological sophistication. | |
| From: Willard Quine (Natural Kinds [1969], p.129) | |
| A reaction: Science is normal thinking about the world, but it is teamwork, with the bar set very high. |
| 16941 | Induction relies on similar effects following from each cause [Quine] |
| Full Idea: Induction expresses our hopes that similar causes will have similar effects. | |
| From: Willard Quine (Natural Kinds [1969], p.125) | |
| A reaction: Some top philosophers are also top teachers, and Quine was one of them, in his writings. He boils it down for the layman. Once again, he is pointing to the fundamental role of the similarity relation. |
| 16940 | Induction is just more of the same: animal expectations [Quine] |
| Full Idea: Induction is essentially only more of the same: animal expectation or habit formation. | |
| From: Willard Quine (Natural Kinds [1969], p.125) | |
| A reaction: My working definition of induction is 'learning from experience', but that doesn't disagree with Quine. Lipton has a richer account of different types of induction. Quine's point is that it rests on resemblance. |
| 16933 | Grue is a puzzle because the notions of similarity and kind are dubious in science [Quine] |
| Full Idea: What makes Goodman's example a puzzle is the dubious scientific standing of a general notion of similarity, or of kind. | |
| From: Willard Quine (Natural Kinds [1969], p.116) | |
| A reaction: Illuminating. It might be best expressed as revealing a problem with sortal terms, as employed by Geach, or by Wiggins. Grue is a bit silly, but sortals are subject to convention and culture. 'Natural' properties seem needed. |
| 16934 | General terms depend on similarities among things [Quine] |
| Full Idea: The usual general term, whether a common noun or a verb or an adjective, owes its generality to some resemblance among the things referred to. | |
| From: Willard Quine (Natural Kinds [1969], p.116) | |
| A reaction: Quine has a nice analysis of the basic role of similarity in a huge amount of supposedly strict scientific thought. |
| 16938 | To learn yellow by observation, must we be told to look at the colour? [Quine] |
| Full Idea: According to the 'respects' view, our learning of yellow by ostension would have depended on our first having been told or somehow apprised that it was going to be a question of color. | |
| From: Willard Quine (Natural Kinds [1969], p.122) | |
| A reaction: Quine suggests there is just one notion of similarity, and respects can be 'abstracted' afterwards. Even the ontologically ruthless Quine admits psychological abstraction! |
| 8486 | Standards of similarity are innate, and the spacing of qualities such as colours can be mapped [Quine] |
| Full Idea: A standard of similarity is in some sense innate. The spacing of qualities (such as red, pink and blue) can be explored and mapped in the laboratory by experiments. They are needed for all learning. | |
| From: Willard Quine (Natural Kinds [1969], p.123) | |
| A reaction: This reasserts Hume's original point in more scientific terms. It is one of the undeniable facts about our perceptions of qualities and properties, no matter how platonist your view of universals may be. |
| 16947 | Similarity is just interchangeability in the cosmic machine [Quine] |
| Full Idea: Things are similar to the extent that they are interchangeable parts of the cosmic machine. | |
| From: Willard Quine (Natural Kinds [1969], p.134) | |
| A reaction: This is a major idea for Quine, because it is a means to gradually eliminate the fuzzy ideas of 'resemblance' or 'similarity' or 'natural kind' from science. I love it! Two tigers are same insofar as they are substitutable. |
| 16932 | Projectible predicates can be universalised about the kind to which they refer [Quine] |
| Full Idea: 'Projectible' predicates are predicates F and G whose shared instances all do count, for whatever reason, towards confirmation of 'All F are G'. ….A projectible predicate is one that is true of all and only the things of a kind. | |
| From: Willard Quine (Natural Kinds [1969], p.115-6) | |
| A reaction: Both Quine and Goodman are infuriatingly brief about the introduction of this concept. 'Red' is true of all ripe tomatoes, but not 'only' of them. Hardly any predicates are true only of one kind. Is that a scholastic 'proprium'? |
| 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? |
| 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. |
| 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. |
| 7375 | Quine probably regrets natural kinds now being treated as essences [Quine, by Dennett] |
| Full Idea: The concept of natural kinds was reintroduced by Quine, who may now regret the way it has become a stand-in for the dubious but covertly popular concept of essences. | |
| From: report of Willard Quine (Natural Kinds [1969]) by Daniel C. Dennett - Consciousness Explained 12.2 n2 | |
| A reaction: He is right that Quine would regret it, and he is right that we can't assume that there are necessary essences just because there seem to be stable natural kinds, but personally I am an essentialist, so I'm not that bothered. |
| 16935 | If similarity has no degrees, kinds cannot be contained within one another [Quine] |
| Full Idea: If similarity has no degrees there is no containing of kinds within broader kinds. If colored things are a kind, they are similar, but red things are too narrow for a kind. If red things are a kind, colored things are not similar, and it's too broad. | |
| From: Willard Quine (Natural Kinds [1969], p.118) | |
| A reaction: [compressed] I'm on Quine's side with this. We glibly talk of 'kinds', but the criteria for sorting things into kinds seems to be a mess. Quine goes on to offer a better account than the (diadic, yes-no) one rejected here. |
| 16936 | Comparative similarity allows the kind 'colored' to contain the kind 'red' [Quine] |
| Full Idea: With the triadic relation of comparative similarity, kinds can contain one another, as well as overlapping. Red and colored things can both count as kinds. Colored things all resemble one another, even though less than red things do. | |
| From: Willard Quine (Natural Kinds [1969], p.119) | |
| A reaction: [compressed] Quine claims that comparative similarity is necessary for kinds - that there be some 'foil' in a similarity - that A is more like C than B is. |
| 16937 | You can't base kinds just on resemblance, because chains of resemblance are a muddle [Quine] |
| Full Idea: If kinds are based on similarity, this has the Imperfect Community problem. Red round, red wooden and round wooden things all resemble one another somehow. There may be nothing outside the set resembling them, so it meets the definition of kind. | |
| From: Willard Quine (Natural Kinds [1969], p.120) | |
| A reaction: [ref. to Goodman 'Structure' 2nd 163- , which attacks Carnap on this] This suggests an invocation of Wittgenstein's family resemblance, which won't be much help for natural kinds. |
| 16942 | It is hard to see how regularities could be explained [Quine] |
| Full Idea: Why there have been regularities is an obscure question, for it is hard to see what would count as an answer. | |
| From: Willard Quine (Natural Kinds [1969], p.126) | |
| A reaction: This is the standard pessimism of the 20th century Humeans, but it strikes me as comparable to the pessimism about science found in Locke and Hume. Regularities are explained all the time by scientists, though the lowest level may be hopeless. |