44 ideas
| 9786 | Philosophers working like teams of scientists is absurd, yet isolation is hard [Cartwright,R] |
| Full Idea: The notion that philosophy can be done cooperatively, in the manner of scientists or engineers engaged in a research project, seems to me absurd. And yet few philosophers can survive in isolation. | |
| From: Richard Cartwright (Intro to 'Philosophical Essays' [1987], xxi) | |
| A reaction: This why Nietzsche said that philosophers were 'rare plants'. |
| 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? |
| 9784 | A false proposition isn't truer because it is part of a coherent system [Cartwright,R] |
| Full Idea: You do not improve the truth value of a false proposition by calling attention to a coherent system of propositions of which it is one. | |
| From: Richard Cartwright (Intro to 'Philosophical Essays' [1987], xi) | |
| A reaction: We need to disentangle the truth-value from the justification here. If it is false, then we can safely assume that is false, but we are struggling to decide whether it is false, and we want all the evidence we can get. Falsehood tends towards incoherence. |
| 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. |
| 13941 | Are the truth-bearers sentences, utterances, ideas, beliefs, judgements, propositions or statements? [Cartwright,R] |
| Full Idea: What is it that is susceptible of truth or falsity? The answers suggested constitute a bewildering variety: sentences, utterances, ideas, beliefs, judgments, propositions, statements. | |
| From: Richard Cartwright (Propositions [1962], 01) | |
| A reaction: Carwright's answer is 'statements', which seem to be the same as propositions. |
| 13942 | Logicians take sentences to be truth-bearers for rigour, rather than for philosophical reasons [Cartwright,R] |
| Full Idea: The current fashion among logicians of taking sentences to be the bearers of truth and falsity indicates less an agreement on philosophical theory than a desire for rigor and smoothness in calculative practice. | |
| From: Richard Cartwright (Propositions [1962], 01) | |
| A reaction: A remark close to my heart. Propositions are rejected first because language offers hope of answers, then because they seem metaphysically odd, and finally because you can't pin them down rigorously. But the blighters won't lie down and die. |
| 9783 | While no two classes coincide in membership, there are distinct but coextensive attributes [Cartwright,R] |
| Full Idea: Attributes and classes are said to be distinguished by the fact that whereas no two classes coincide in membership, there are supposed to be distinct but coextensive attributes. | |
| From: Richard Cartwright (Classes and Attributes [1967], §2) | |
| A reaction: This spells out the standard problem of renates and cordates, that creatures with hearts and with kidneys are precisely coextensive, but that these properties are different. Cartwright then attacks the distinction. |
| 14961 | Clearly a pipe can survive being taken apart [Cartwright,R] |
| Full Idea: There is at the moment a pipe on my desk. Its stem has been removed but it remains a pipe for all that; otherwise no pipe could survive a thorough cleaning. | |
| From: Richard Cartwright (Scattered Objects [1974], p.175) | |
| A reaction: To say that the pipe survives dismantling is not to say that it is fully a pipe during its dismantled phase. He gives a further example of a book in two volumes. |
| 14962 | Bodies don't becomes scattered by losing small or minor parts [Cartwright,R] |
| Full Idea: If a branch falls from a tree, the tree does not thereby become scattered, and a human body does not become scattered upon loss of a bit of fingernail. | |
| From: Richard Cartwright (Scattered Objects [1974], p.184) | |
| A reaction: This sort of observation draws me towards essentialism. A body is scattered if you divide it in a major way, but not if you separate off a minor part. It isn't just a matter of size, or even function. We have broader idea of what is essential. |
| 13952 | Essentialism says some of a thing's properties are necessary, and could not be absent [Cartwright,R] |
| Full Idea: Essentialism, as I shall understand it, is the doctrine that among the attributes of a thing some are essential, others merely accidental. Its essential attributes are those it has necessarily, those it could not have lacked. | |
| From: Richard Cartwright (Some Remarks on Essentialism [1968], p.149) | |
| A reaction: The problem with this, which Cartwright does not address, is that trivial and gerrymandered properties (such as having self-identity, or being 'such that 2+2=4') seem to be necessarily, but don't seem to constitute the essence of a thing. |
| 13954 | The difficulty in essentialism is deciding the grounds for rating an attribute as essential [Cartwright,R] |
| Full Idea: I see no reason for thinking essentialism unintelligible, but a chief perplexity is the obscurity of the grounds on which ratings of attributes as essential or accidental are to be made. | |
| From: Richard Cartwright (Some Remarks on Essentialism [1968], p.158) | |
| A reaction: In that case some of us younger philosophers will have to roll up our sleeves and tease out the grounds for essentialism, starting with Aristotle and Leibniz, and ending with the successes of modern science. |
| 13955 | Essentialism is said to be unintelligible, because relative, if necessary truths are all analytic [Cartwright,R] |
| Full Idea: Apparently those who think essentialism unintelligible see support for their position in the doctrine that necessary truths are all analytic. Only relative to some mode of designation does it make sense to speak of an object as necessarily this or that. | |
| From: Richard Cartwright (Some Remarks on Essentialism [1968], p.158) | |
| A reaction: He has in mind Quine and his mathematician-cyclist (Idea 8482). Personally I have no problems with the example. No one is essentially a cyclist - that isn't what essence is. Two-legged people can be cyclists. |
| 13953 | An act of ostension doesn't seem to need a 'sort' of thing, even of a very broad kind [Cartwright,R] |
| Full Idea: For an ostension to be successful it is surely not necessary that I gather what sort of object it is you have indicated, such as being a horse or a zebra. I may even gather which thing you have indicated without knowing that it is a mammal or even alive. | |
| From: Richard Cartwright (Some Remarks on Essentialism [1968], p.157) | |
| A reaction: This nicely articulates the objection I have always felt to Geach's relative identity. 'Oh my God, what the hell is THAT???' is probably going to be a successful act of verbal reference, even while explicitly denying all knowledge of sortals. |
| 13945 | A token isn't a unique occurrence, as the case of a word or a number shows [Cartwright,R] |
| Full Idea: We cannot take a token of a word to be an occurrence of it. Suppose there is exactly one occurrence of the word 'etherized' in the whole of English poetry? Exactly one 'token'? This sort of occurrence is like the occurrence of a number in a sequence. | |
| From: Richard Cartwright (Propositions [1962], Add 2) | |
| A reaction: This remark is in an addendum to his paper, criticising his own lax use of the idea of 'token' in the actual paper. The example nicely shows that the type/token distinction isn't neat and tidy - though I consider it very useful. |
| 13950 | People don't assert the meaning of the words they utter [Cartwright,R] |
| Full Idea: No one ever asserts the meaning of the words he utters. | |
| From: Richard Cartwright (Propositions [1962], 12) | |
| A reaction: Cartwright is using this point to drive a wedge between sentence meaning and the assertion made by the utterance. Hence he defends propositions. Presumably people utilise word-meanings, rather than asserting them. Meanings (not words) are tools. |
| 13948 | For any statement, there is no one meaning which any sentence asserting it must have [Cartwright,R] |
| Full Idea: It does have to be acknowledged, I think, that every statement whatever is such that there is no one meaning which any sentence used to assert it must have. | |
| From: Richard Cartwright (Propositions [1962], 11) | |
| A reaction: This feels to me like a Gricean move - that what we are really interested in is communicating one mental state to another mental state, and there are all sorts of tools that can do that one job. |
| 13944 | We can pull apart assertion from utterance, and the action, the event and the subject-matter for each [Cartwright,R] |
| Full Idea: We need to distinguish 1) what is asserted, 2) that assertion, 3) asserting something, 4) what is predicated, 5) what is uttered, 6) that utterance, 7) uttering something, 8) the utterance token, and 9) the meaning. | |
| From: Richard Cartwright (Propositions [1962], 05-06) | |
| A reaction: [summary of his overall analysis in the paper] It is amazingly hard to offer a critical assessment of this sort of analysis, but it gives you a foot in the door for thinking about the issues with increasing clarity. |
| 13947 | 'It's raining' makes a different assertion on different occasions, but its meaning remains the same [Cartwright,R] |
| Full Idea: A person who utters 'It's raining' one day does not normally make the same statement as one who utters it the next. But these variations are not accompanied by corresponding changes of meaning. The words 'It's raining' retain the same meaning throughout. | |
| From: Richard Cartwright (Propositions [1962], 10) | |
| A reaction: This is important, because it shows that a proposition is not just the mental shadow behind a sentence, or a mental shadow awaiting a sentence. Unlike a sentence, a proposition can (and possibly must) include its own context. Very interesting! |
| 13943 | We can attribute 'true' and 'false' to whatever it was that was said [Cartwright,R] |
| Full Idea: We do sometimes say of something to which we have referred that it is true (or false). Are we not ordinarily doing just this when we utter such sentences as 'That's true' and 'What he said was false'? | |
| From: Richard Cartwright (Propositions [1962], 03) | |
| A reaction: This supports propositions, but doesn't clinch the matter. One could interpret this phenomenon as always being (implicitly) the reference of one sentence to another. However, I remember what he said, but I can't remember how he said it. |
| 13946 | To assert that p, it is neither necessary nor sufficient to utter some particular words [Cartwright,R] |
| Full Idea: In order to assert that p it is not necessary to utter exactly those words. ...Clearly, also, in order to assert that p, it is not sufficient to utter the words that were actually uttered. | |
| From: Richard Cartwright (Propositions [1962], 07) | |
| A reaction: I take the first point to be completely obvious (you can assert one thing with various wordings), and the second seems right after a little thought (the words could be vague, ambiguous, inaccurate, contextual) |
| 13951 | Assertions, unlike sentence meanings, can be accurate, probable, exaggerated, false.... [Cartwright,R] |
| Full Idea: Whereas what is asserted can be said to be accurate, exaggerated, unfounded, overdrawn, probable, improbable, plausible, true, or false, none of these can be said of the meaning of a sentence. | |
| From: Richard Cartwright (Propositions [1962], 12) | |
| A reaction: That fairly firmly kicks into touch the idea that the assertion is the same as the meaning of the sentence. |
| 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? |
| 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. |
| 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. |
| 6005 | Animals are dangerous and nourishing, and can't form contracts of justice [Hermarchus, by Sedley] |
| Full Idea: Hermarchus said that animal killing is justified by considerations of human safety and nourishment and by animals' inability to form contractual relations of justice with us. | |
| From: report of Hermarchus (fragments/reports [c.270 BCE]) by David A. Sedley - Hermarchus | |
| A reaction: Could the last argument be used to justify torturing animals? Or could we eat a human who was too brain-damaged to form contracts? |