34 ideas
| 11211 | If a sound conclusion comes from two errors that cancel out, the path of the argument must matter [Rumfitt] |
| Full Idea: If a designated conclusion follows from the premisses, but the argument involves two howlers which cancel each other out, then the moral is that the path an argument takes from premisses to conclusion does matter to its logical evaluation. | |
| From: Ian Rumfitt ("Yes" and "No" [2000], II) | |
| A reaction: The drift of this is that our view of logic should be a little closer to the reasoning of ordinary language, and we should rely a little less on purely formal accounts. |
| 11210 | Standardly 'and' and 'but' are held to have the same sense by having the same truth table [Rumfitt] |
| Full Idea: If 'and' and 'but' really are alike in sense, in what might that likeness consist? Some philosophers of classical logic will reply that they share a sense by virtue of sharing a truth table. | |
| From: Ian Rumfitt ("Yes" and "No" [2000]) | |
| A reaction: This is the standard view which Rumfitt sets out to challenge. |
| 11212 | The sense of a connective comes from primitively obvious rules of inference [Rumfitt] |
| Full Idea: A connective will possess the sense that it has by virtue of its competent users' finding certain rules of inference involving it to be primitively obvious. | |
| From: Ian Rumfitt ("Yes" and "No" [2000], III) | |
| A reaction: Rumfitt cites Peacocke as endorsing this view, which characterises the logical connectives by their rules of usage rather than by their pure semantic value. |
| 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) |
| 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. |
| 11214 | We learn 'not' along with affirmation, by learning to either affirm or deny a sentence [Rumfitt] |
| Full Idea: The standard view is that affirming not-A is more complex than affirming the atomic sentence A itself, with the latter determining its sense. But we could learn 'not' directly, by learning at once how to either affirm A or reject A. | |
| From: Ian Rumfitt ("Yes" and "No" [2000], IV) | |
| A reaction: [compressed] This seems fairly anti-Fregean in spirit, because it looks at the psychology of how we learn 'not' as a way of clarifying what we mean by it, rather than just looking at its logical behaviour (and thus giving it a secondary role). |
| 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. |
| 23110 | Human injustice is not a permanent feature of communities [Rawls] |
| Full Idea: Men's propensity to injustice is not a permanent aspect of community life. | |
| From: John Rawls (A Theory of Justice [1972], p.245), quoted by John Kekes - Against Liberalism | |
| A reaction: This attitude is dismissed by Kekes, with some justification, as naïve optimism. What could be Rawls's grounds for making such a claim? It couldn't be the facts of human history. |
| 15676 | Rawls defends the priority of right over good [Rawls, by Finlayson] |
| Full Idea: Rawls defends the thesis of the priority of the right over the good. | |
| From: report of John Rawls (A Theory of Justice [1972]) by James Gordon Finlayson - Habermas Ch.7:100 | |
| A reaction: It depends whether you are talking about actions, or about states of affairs. I don't see how any state of affairs can be preferred to the good one. It may be that the highest duty of action is to do what is right, rather than to achieve what is good. |
| 4123 | A fair arrangement is one that parties can agree to without knowing how it will benefit them personally [Rawls, by Williams,B] |
| Full Idea: Rawls's theory is an elaboration of a simple idea: a fair system of arrangements is one that the parties can agree to without knowing how it will benefit them personally. | |
| From: report of John Rawls (A Theory of Justice [1972]) by Bernard Williams - Ethics and the Limits of Philosophy Ch.5 | |
| A reaction: The essence of modern Kantian contractualism. It is an appealing principle for building a rational world, but I hear Nietzsche turning in his grave. |
| 3279 | Utilitarianism inappropriately scales up the individual willingness to make sacrifices [Rawls, by Nagel] |
| Full Idea: Rawls claims that utilitarianism applies to the problem of many interests a method appropriate for one individual. A single person may accept disadvantages in exchange for benefits, but in society other people get the benefits. | |
| From: report of John Rawls (A Theory of Justice [1972], p.74,104) by Thomas Nagel - Equality §7 |
| 3280 | Why does the rational agreement of the 'Original Position' in Rawls make it right? [Nagel on Rawls] |
| Full Idea: Why does what it is rational to agree to in Rawls' 'Original Position' determine what is right? | |
| From: comment on John Rawls (A Theory of Justice [1972]) by Thomas Nagel - Equality §7 |
| 20552 | The original position models the idea that citizens start as free and equal [Rawls, by Swift] |
| Full Idea: The original position is presented by Rawls as modelling the sense in which citizens are to be understood as free and equal. | |
| From: report of John Rawls (A Theory of Justice [1972]) by Adam Swift - Political Philosophy (3rd ed) 3 'Strikes' | |
| A reaction: In other words, Rawls's philosophy is not a demonstration of why we should be liberals, but a guidebook for how liberals should go about organising society. |
| 18636 | Choose justice principles in ignorance of your own social situation [Rawls] |
| Full Idea: The principles of justice are chosen behind a veil of ignorance. ...Since all are similarly situated and no one is able to design principles to favor his particular condition, the principles of justice are the rest of a fair agreement or bargain. | |
| From: John Rawls (A Theory of Justice [1972], §03) | |
| A reaction: A famous idea. It tries to impose a Kantian impartiality onto the assessment of political principles. It is a beautifully simple idea, and saying that such impartiality never occurs is no objection to it. Think of a planet far far away. |
| 18631 | All desirable social features should be equal, unless inequality favours the disadvantaged [Rawls] |
| Full Idea: All social primary goods - liberty and opportunity, income and wealth, and the bases of self-respect - are to be distributed equally unless an unequal distribution of any or all of these goods is to the advantage of the least favoured. | |
| From: John Rawls (A Theory of Justice [1972], §46) | |
| A reaction: In the wholehearted capitalism of the 21st century this sounds like cloud-cuckoo land. As an 'initial position' (just as in the 'Republic') the clean slate brings out some interesting principles. Actual politics takes vested interests as axiomatic. |
| 20538 | Utilitarians lump persons together; Rawls somewhat separates them; Nozick wholly separates them [Swift on Rawls] |
| Full Idea: Rawls objects to utilitarianism because it fails to take seriously the separateness of persons (because there is no overall person to enjoy the overall happiness). But Nozick thinks Rawls does not take the separateness of persons seriously enough. | |
| From: comment on John Rawls (A Theory of Justice [1972]) by Adam Swift - Political Philosophy (3rd ed) 1 'Nozick' | |
| A reaction: In this sense, Nozick seems to fit our picture of a liberal more closely than Rawls does. I think they both exaggerate the separateness of persons, based on a false concept of human nature. |
| 9277 | Rawls's account of justice relies on conventional fairness, avoiding all moral controversy [Gray on Rawls] |
| Full Idea: Rawls's account of justice works only with widely accepted intuitions of fairness and relies at no point on controversial positions in ethics. The fruit of this modesty is a pious commentary on conventional moral beliefs. | |
| From: comment on John Rawls (A Theory of Justice [1972]) by John Gray - Straw Dogs 3.6 | |
| A reaction: Presumably this is the thought which provoked Nozick to lob his grenade on the subject. It resembles the charges of Schopenhauer and Nietzsche against Kant, that he was just dressing up conventional morality. Are 'controversial' ethics good? |
| 20527 | Liberty Principle: everyone has an equal right to liberties, if compatible with others' liberties [Rawls] |
| Full Idea: First Principle [Liberty]: Each person is to have an equal right to the most extensive total system of equal basic liberties compatible with a similar system of liberty for all. | |
| From: John Rawls (A Theory of Justice [1972], 46) | |
| A reaction: This is the result of consensus after the initial ignorant position of assessment. It is characteristic of liberalism. I'm struggling to think of a disagreement. |
| 21018 | The social contract has problems with future generations, national boundaries, disabilities and animals [Rawls, by Nussbaum] |
| Full Idea: Rawls saw four difficulties for justice in the social contract approach: future generations; justice across national boundaries; fair treatment of people with disabilities; and moral issues involving non-human animals. | |
| From: report of John Rawls (A Theory of Justice [1972]) by Martha Nussbaum - Creating Capabilities 4 | |
| A reaction: These are all classic examples of groups who do not have sufficient power to negotiate contracts. |
| 21041 | Justice concerns not natural distributions, or our born location, but what we do about them [Rawls] |
| Full Idea: The natural distribution is neither just nor unjust; nor is it unjust that persons are born into society at some particular position. These are simply natural facts. What is just and unjust is the way that institutions deal with these facts. | |
| From: John Rawls (A Theory of Justice [1972], 17) | |
| A reaction: Lovely quotation. There is no point in railing against the given, and that includes what is given by history, as well as what is given by nature. It comes down to intervening, in history and in nature. How much intervention will individuals tolerate? |
| 23583 | If an aggression is unjust, the constraints on how it is fought are much stricter [Rawls] |
| Full Idea: When a country's right to war is questionable and uncertain, the constraints on the means it can use are all the more severe. | |
| From: John Rawls (A Theory of Justice [1972], p.379), quoted by Michael Walzer - Just and Unjust Wars 14 | |
| A reaction: This is Rawls opposing the idea that combatants are moral equals. The restraints are, of course, moral. In practice aggressors are usually the worst behaved. |