44 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? |
| 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. |
| 12887 | A whole must have one characteristic, an internal relation, and a structure [Rescher/Oppenheim] |
| Full Idea: A whole must possess an attribute peculiar to and characteristic of it as a whole; there must be a characteristic relation of dependence between the parts; and the whole must have some structure which gives it characteristics. | |
| From: Rescher,N/Oppenheim,P (Logical Analysis of Gestalt Concepts [1955], p.90), quoted by Peter Simons - Parts 9.2 | |
| A reaction: Simons says these are basically sensible conditions, and tries to fill them out. They seem a pretty good start, and I must resist the temptation to rush to borderline cases. |
| 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. |
| 23125 | Most good social changes are incremental, rather than revolutionary [Gopnik] |
| Full Idea: More permanent positive social change is made incrementally rather than by revolutionary transformation. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 1) | |
| A reaction: This is the standard liberal response to revolution. Revolutionaries obviously consider such a claim to be very naïve, and a failure to grasp how deep the changes need to go. |
| 23126 | Conservatives often want peace, prosperity and tolerance, but not social fairness [Gopnik] |
| Full Idea: Many conservatives want their world to be peaceful, properous, and pluralist, just as liberals do, but they don't particularly care that it be fair. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 1) | |
| A reaction: Every conservative will have a sense of what is fair (such as appropriate punishments, and keeping of contracts), but they are more inclined to think that fairness must be fought for by individuals, not imposed by governments. |
| 23132 | Conservatives believe obedience and rank are essential to social order [Gopnik] |
| Full Idea: The idea that the appearance of submission and obedience and rank are essential to order is at the heart of the conservative ideal. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 2) | |
| A reaction: [He has just quoted Edmund Burke writing of Marie Antoinette] I once heard Richard Hare say that he thought social order would be best modelled on the army. A colleague once told me that obedience is a prime duty of a school teacher. |
| 23128 | The opposite of liberalism is dogmatism [Gopnik] |
| Full Idea: The opposite of liberalism is not conservatism but dogmatism. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 1) | |
| A reaction: Nice. It pinpoints the liberal opposition to both extremes of normal politics. It might make anarchists their allies, though! |
| 23142 | People are fallible, so liberalism tries to distribute power [Gopnik] |
| Full Idea: Liberalism makes the idea of fallibility into a political practice by trying not to have too much power concentrated in one place or part of the system. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: There is a potential inefficiency and failure to focus on key goals implicit in this aim. It may be a good idea for a peacetime democracy, but a terrible idea for a wartime army. To stop corruption, don't let anyone do anything? |
| 23143 | Liberals have tried very hard to build a conscience into their institutions [Gopnik] |
| Full Idea: What liberalism can say on its own behalf is that no system of power in human history has tried harder to insert a corrective conscience into its institutions. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: What we are learning in recent years is that wonderful liberal institutions can be quietly eroded by the forces of darkness, once those forces have sufficient control of the media to hide what they are doing. The 'rule of law' is wobbling. |
| 23141 | Left-wingers are inconsistent in their essentialist descriptions of social groups [Gopnik] |
| Full Idea: A criticism of the left is that it is essentialist at some moments, and wildly anti-essentialist at others. We can call this opportunistic essentialism. Gender is fluid - except for transgender kids. Race is a construction - except for white races. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: [compressed] Interesting. Gopnik's solution seems to be to abandon all social essentialism as wicked. In this context he is probably right, but I am firmly committed to the idea that many entities in the world have essential natures. 'Bourgeois'. |
| 23124 | Liberal community is not blood ties or tradition, but shared choices, and sympathy for the losers [Gopnik] |
| Full Idea: The liberal idea of community is not one, as it is for many conservatives, of blood ties or traditional authority. It rest on the idea of shared choices …including even a sense of sympathy for those caught on the losing side of the argument. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 1) | |
| A reaction: The key point is that most liberals (other than extreme libertarians) have a strong sense of community, contrary to the standard criticisms offered by communitarians. |
| 23127 | Liberal community includes flight from the family, into energetic reforming groups [Gopnik] |
| Full Idea: Where conservatives believe in the renewal of traditional community, liberals believe as well in the flight from family and tradition into new kinds of communal order. …It is an idea of assembling confidence and energies for reform. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 1) | |
| A reaction: He cites Greenwich Village as an example. This suggests that his vision is a little narrow. His communities are for radicals who flee to join like minds in big cities. Politics must care about community for those left behind. Pubs, sport and pets. |
| 23129 | Right-wingers attack liberal faith in reason, left-wingers attack its faith in reform [Gopnik] |
| Full Idea: The right-wing critique of liberalism is largely an attack on its overreliance on reason; the left-wing one, mostly an attack on its false faith in reform. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 2) | |
| A reaction: I doubt whether sensible liberals do rely too much on reason, though they do rely of scientific evidence (after peer review!). No one can doubt that lots of reforms have occurred, so it must be frustration with the very slow process. |
| 23133 | Cosmopolitan liberals lack national loyalty, and welcome excessive immigration [Gopnik] |
| Full Idea: Critics say liberal cosmopolitanism is indifference to national loyalty, making them easily contemplate going elsewhere and, worse still, welcoming in the world through unsifted immigration. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 2) | |
| A reaction: There is certainly some truth in this. Not all liberals are so cosmopolitan, though. It is interesting to observe whether people who retire stay in their old community or move to somewhere quite new. |
| 23138 | Modern left-wingers criticise liberalism's control of culture [Gopnik] |
| Full Idea: Most left-wing critiques of liberalism now turn more often on its cultural power and its cultural illusions. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: As opposed to older Marxists critiques of the exploitation of workers. This is certainly fertile ground for interesting studies of our culture. It is very hard to grasp the influence had by the endless stories we expose ourselves to. |
| 23139 | Liberalism's attempt to be neutral and colour-blind erases cultural identities [Gopnik] |
| Full Idea: The 'colour-blind' universe of 'neutral' liberalism is actually an attempt to erase cultural identity and history. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: This is the modern critique of liberalism [centred on the Intersectionality of Bell Hooks or Kimberlé Crenshaw], which analyses alienated minorities, and their emphasis on their difference in response. It can lead to 'identity politics'. |
| 23135 | Classic Marxists see liberalism as the ideology of the bourgeoisie [Gopnik] |
| Full Idea: The classic Marxist account shows liberalism as merely the ideology of the bourgeoisie. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: The word 'merely' does an awful lot of work in philosohy! I suspect that 'bourgeoisie' is self-defining here - as the believers in liberalism - given that lots of Marxists emerge from the middle classes. |
| 23140 | Environmental disasters result not from capitalism, but from a general drive for growth [Gopnik] |
| Full Idea: It is the drive for growth, not capitalism in particular, that makes environmental disasters happen. Those caused by the command economics of Eastern Europe were far greater than even the worst known in Western Europe. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: So the next question is whether you can have capitalism without a drive for growth. I would have thought not, given the role recycled profit plays in driving capitalism. Command economies are more easily swept away. |
| 23130 | Popular imperialism gives the poor the belief that their acts have world historical meaning [Gopnik] |
| Full Idea: Popular imperialism is the cosmopolitanism of the poor, the lever by which the small and impotent come to believe that their acts have world historical meaning. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 2) | |
| A reaction: It is not only the poor who like imperialism. The focus of this popular attitude is the armed forces, and especially the army, where personal bravery is most obvious. The army gets strong support, no matter how dubious are its activities. |
| 23131 | Patriots love their place, but nationalists have a paranoid ethnic hostility [Gopnik] |
| Full Idea: The patriot loves his place and its cheeses; …the nationalist has not particular affection for the place, but employs his obsessive sense of encirclement and grievance on behalf of acts of ethnic vengeance. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 2) | |
| A reaction: 'Vengeance' seems a bit strong. John Le Carré said nationalists are distinguished by the need to have enemies. Russia is particularly obsessed with 'encirclement'. |
| 23136 | Liberal free speech is actually paid speech [Gopnik] |
| Full Idea: What liberals call free speech or a free press is invariably paid speech. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: He give this as the left-wing view of liberalism. The much-hated social media are a substantial breech in this tendency. Sales of newspapers are declining everywhere, so the battle is for television channels. |
| 23134 | A 'free' society implies a free market, which always produces predatory capitalism and inequalities [Gopnik] |
| Full Idea: 'Free societies', as a matter of practical fact, always mean free-market societies - and free markets will never sponsor more than predatory capitalism. Inequalities always emerge. | |
| From: Adam Gopnik (A Thousand Small Sanities [2019], 3) | |
| A reaction: This is part of his account of left-wing objections to liberalism. The crux of the liberal view is a conviction that the worst of capitalism can be restrained. This began to look doubtful once huge multinational companies emerged. What to do? |