41 ideas
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| 12463 | Unlike correspondence, truthmaking can be one truth to many truthmakers, or vice versa [Jacobs] |
| 11211 | If a sound conclusion comes from two errors that cancel out, the path of the argument must matter [Rumfitt] |
| 11212 | The sense of a connective comes from primitively obvious rules of inference [Rumfitt] |
| 11210 | Standardly 'and' and 'but' are held to have the same sense by having the same truth table [Rumfitt] |
| 14375 | If structures result from intrinsic natures of properties, the 'relations' between them can drop out [Jacobs] |
| 14378 | Science aims at identifying the structure and nature of the powers that exist [Jacobs] |
| 12467 | Powers come from concrete particulars, not from the laws of nature [Jacobs] |
| 14377 | Possibilities are manifestations of some power, and impossibilies rest on no powers [Jacobs] |
| 14376 | States of affairs are only possible if some substance could initiate a causal chain to get there [Jacobs] |
| 14379 | Counterfactuals invite us to consider the powers picked out by the antecedent [Jacobs] |
| 14372 | Possible worlds are just not suitable truthmakers for modality [Jacobs] |
| 12466 | All modality is in the properties and relations of the actual world [Jacobs] |
| 14371 | We can base counterfactuals on powers, not possible worlds, and hence define necessity [Jacobs] |
| 12465 | Concrete worlds, unlike fictions, at least offer evidence of how the actual world could be [Jacobs] |
| 12464 | If some book described a possibe life for you, that isn't what makes such a life possible [Jacobs] |
| 12469 | Possible worlds semantics gives little insight into modality [Jacobs] |
| 11214 | We learn 'not' along with affirmation, by learning to either affirm or deny a sentence [Rumfitt] |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |