9 ideas
| 10414 | Abstract objects are constituted by encoded collections of properties [Zalta, by Swoyer] |
| Full Idea: In Zalta's view abstract objects are correlated with collections of properties. ..They encode, as well as exemplify, properties; indeed, an abstract object (such as a Euclidean triangle) is constituted by the properties it encodes. | |
| From: report of Edward N. Zalta (Abstract Objects:intro to Axiomatic Metaphysics [1983]) by Chris Swoyer - Properties 6.3 | |
| A reaction: If we are going to explain abstract objects with properties, then properties had better not be abstract objects. Zalta has a promising idea if we start from a nominalist and naturalistic view of properties (built from physical powers). 'Encode'? |
| 10558 | Abstract objects are actually constituted by the properties by which we conceive them [Zalta] |
| Full Idea: Where for ordinary objects one can discover the properties they exemplify, abstract objects are actually constituted or determined by the properties by which we conceive them. I use the technical term 'x encodes F' for this idea. | |
| From: Edward N. Zalta (Deriving Kripkean Claims with Abstract Objects [2006], 2 n2) | |
| A reaction: One might say that whereas concrete objects can be dubbed (in the Kripke manner), abstract objects can only be referred to by descriptions. See 10557 for more technicalities about Zalta's idea. |
| 10415 | Properties make round squares and round triangles distinct, unlike exemplification [Zalta, by Swoyer] |
| Full Idea: On Zalta's view, properties with the same encoding extensions are identical, but may be distinct with the same exemplification extension. So the properties of being a round square and a round triangle are distinct, but with the same exemplification. | |
| From: report of Edward N. Zalta (Abstract Objects:intro to Axiomatic Metaphysics [1983]) by Chris Swoyer - Properties | |
| A reaction: (For Zalta's view, see Idea 10414) I'm not sure about 'encoding' (cf. Hodes's use of the word), but the idea that an abstract object is just a bunch of possible properties (assuming properties have prior availability) seems promising. |
| 3061 | Anaxarchus said that he was not even sure that he knew nothing [Anaxarchus, by Diog. Laertius] |
| Full Idea: Anaxarchus said that he was not even sure that he knew nothing. | |
| From: report of Anaxarchus (fragments/reports [c.340 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.10.1 |
| 10557 | Abstract objects are captured by second-order modal logic, plus 'encoding' formulas [Zalta] |
| Full Idea: My object theory is formulated in a 'syntactically second-order' modal predicate calculus modified only so as to admit a second kind of atomic formula ('xF'), which asserts that object x 'encodes' property F. | |
| From: Edward N. Zalta (Deriving Kripkean Claims with Abstract Objects [2006], p.2) | |
| A reaction: This is summarising Zalta's 1983 theory of abstract objects. See Idea 10558 for Zalta's idea in plain English. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |