45 ideas
| 14415 | A ground must be about its truth, and not just necessitate it [Merricks] |
| Full Idea: A ground does not merely necessitate its truth. A ground is also what its truth is appropriately about. | |
| From: Trenton Merricks (Truth and Ontology [2007], 7.II) |
| 14408 | Truthmaker needs truths to be 'about' something, and that is often unclear [Merricks] |
| Full Idea: It is not always obvious what (if anything) a truth is about, in the sense of 'about' relevant to Truthmaker and truth-supervenient-on-being. Prior says 'Queen Anne is dead' is not about Queen Anne, and may be about the Earth. | |
| From: Trenton Merricks (Truth and Ontology [2007], 6.III) | |
| A reaction: A very nice and rather subtle objection to the Truthmaker thesis. Specifying the truthmaker for a given truth looks like a doddle in simple cases, but clearly it can become extremely elusive in other cases. |
| 14395 | If a ball changes from red to white, Truthmaker says some thing must make the change true [Merricks] |
| Full Idea: If a single ball goes from being red to being white, Truthmaker implies that something exists which makes it true that the second thing follows the first. | |
| From: Trenton Merricks (Truth and Ontology [2007], 3.V) |
| 14398 | Truthmaker says if an entity is removed, some nonexistence truthmaker must replace it [Merricks] |
| Full Idea: Truthmaker makes it impossible simply to remove an entity. One must always replace it with something else; namely, a truthmaker for the claim that that entity does not exist. | |
| From: Trenton Merricks (Truth and Ontology [2007], 4.I-3) | |
| A reaction: This is a particularly strong and persuasive argument from Merricks against the truthmaker view. Clearly the truthmaker for non-existence can't be there when it exists, and the destruction bringing the negative truthmaker into existence sounds odd. |
| 14403 | If Truthmaker says each truth is made by the existence of something, the theory had de re modality at is core [Merricks] |
| Full Idea: Truthmaker says that, for each truth, there is something that, by its mere existence, makes that truth true, …so Truthmaker has de re modality at its core. | |
| From: Trenton Merricks (Truth and Ontology [2007], 5.III) | |
| A reaction: I have no problem with de re modality, so this doesn't bother me. Merricks brings out nicely the baggage which you must carry if you are a Truthmaker. |
| 14397 | Truthmaker demands not just a predication, but an existing state of affairs with essential ingredients [Merricks] |
| Full Idea: The claim 'that Fido is brown' seems to demand only a brown Fido, but Truthmaker demands more. It demands both that a state of affairs along the lines of 'Fido's being brown' exists, and also that this state has its constituents essentially. | |
| From: Trenton Merricks (Truth and Ontology [2007], 4.I) | |
| A reaction: One would need to reread Merricks to get this clear, but my instinct is that the two scenarios are not very different. 'A brown Fido' would require Fido to be necessarily brown to do the job. |
| 14396 | If 'truth supervenes on being', worlds with the same entities, properties and relations have the same truths [Merricks] |
| Full Idea: 'Truth supervenes on being' says that any two possible worlds alike with respect to what entities exist and which properties (and relations) each of those entities exemplifies are thereby alike with respect to what is true. | |
| From: Trenton Merricks (Truth and Ontology [2007], 4) | |
| A reaction: Merricks says this view is found in early Wittgenstein, as well as in David Lewis. He suggests that this is a weaker and more plausible thesis than the full commitment to truthmakers. It still allows some truths to lack truthmakers. Sounds plausible. |
| 14400 | If truth supervenes on being, that won't explain why truth depends on being [Merricks] |
| Full Idea: If 'truth supervenes on being' aims to articulate the idea that truth depends on being, it must say more than that truth supervenes on being. | |
| From: Trenton Merricks (Truth and Ontology [2007], 4.VI) | |
| A reaction: This is a perennial problem with supervenience accounts, such as the supervenience of beauty on the object, or of mind on brain. |
| 14394 | It is implausible that claims about non-existence are about existing things [Merricks] |
| Full Idea: It is implausible that a claim asserting that a thing fails to exist is made true by - and so is appropriately about - some other, existing thing. | |
| From: Trenton Merricks (Truth and Ontology [2007], 3.V) |
| 14390 | Truthmaker isn't the correspondence theory, because it offers no analysis of truth [Merricks] |
| Full Idea: Because Truthmaker offers no analysis of being true, Truthmaker is not the correspondence theory of truth. | |
| From: Trenton Merricks (Truth and Ontology [2007], 1.IV) | |
| A reaction: I'm not convinced that the correspondence theory offers an 'analysis' of truth. It doesn't seem to do much more than offer a word which suggests an analogy with some relation in the world. |
| 14412 | Speculations about non-existent things are not about existent things, so Truthmaker is false [Merricks] |
| Full Idea: That 'there might have been a dozen more fundamental particles' is true, but not appropriately about any existing entities or their properties. Since Truthmaker says that all truths are about existing entities, it must be false. | |
| From: Trenton Merricks (Truth and Ontology [2007], 6.VI) | |
| A reaction: Since I don't necessarily agree that 'there might have been a dozen more fundamental particles' (see Scientific Essentialism), and I take the disagreement to have some basis, I doubt this idea. What stops 'there could be circular squares' from being true? |
| 14414 | I am a truthmaker for 'that a human exists', but is it about me? [Merricks] |
| Full Idea: I am a truthmaker for 'that a human exists', but it is not obvious that that proposition is thus about me. | |
| From: Trenton Merricks (Truth and Ontology [2007], 7.I) | |
| A reaction: This is part of the general rather good objection that it is often unclear what a truth is 'about' (Idea 14408). The original Gettier examples about justification illustrate this problem. They make things true, in a surprising way. |
| 14418 | Being true is not a relation, it is a primitive monadic property [Merricks] |
| Full Idea: Being true is not a relation. …Being true is a monadic property. …Being true is a primitive property. | |
| From: Trenton Merricks (Truth and Ontology [2007], 8.IV) | |
| A reaction: Even after reading Merricks on this, I am not sure I understand it. If a single sentence floats in the void, it is hard to see how the 'monadic' property of truth could accrue to it. |
| 14391 | If the correspondence theory is right, then necessary truths must correspond to something [Merricks] |
| Full Idea: Suppose for the sake of argument that the correspondence theory is correct. Then it is analytic that each necessary truth, in virtue of being true, corresponds to something. | |
| From: Trenton Merricks (Truth and Ontology [2007], 2.II) | |
| A reaction: The sort of nice simple observation for which I admire Merricks. You don't have to give up on the correspondence theory at this point, but you will have to go through with some substantial metaphysics to keep it afloat. |
| 14419 | Deflationism just says there is no property of being truth [Merricks] |
| Full Idea: I take 'deflationism' to be nothing other than the claim that there is no property of being true. | |
| From: Trenton Merricks (Truth and Ontology [2007], 8.V) |
| 14393 | The totality state is the most plausible truthmaker for negative existential truths [Merricks] |
| Full Idea: The claim that the totality state is the sole truthmaker for negative existential truths emerges as the best position for a truthmaker theorist. | |
| From: Trenton Merricks (Truth and Ontology [2007], 3.III) |
| 14413 | Some properties seem to be primitive, but others can be analysed [Merricks] |
| Full Idea: Some properties (perhaps negative charge, or the relation of identity) admit of no analysis, and so are primitive. But others are analysable, and so not primitive | |
| From: Trenton Merricks (Truth and Ontology [2007], 7.I) |
| 14416 | An object can have a disposition when the revelant conditional is false [Merricks] |
| Full Idea: It is possible for an object to have a disposition even though the relevant conditional is false. | |
| From: Trenton Merricks (Truth and Ontology [2007], 7.III) | |
| A reaction: This is the now standard observation that finks (killing the disposition) and antidotes (blocking the effect of the disposition) can intervene, as in safety mechanisms in electrical gadgets. There may be replies available here. |
| 14392 | Fregeans say 'hobbits do not exist' is just 'being a hobbit' is not exemplified [Merricks] |
| Full Idea: A Fregean about existence claims would say that 'that hobbits do not exist' is nothing other than the claim that 'being a hobbit' is not exemplified. | |
| From: Trenton Merricks (Truth and Ontology [2007], 3.II) | |
| A reaction: 'My passport has ceased to exist' seems to be a bit more dramatic than a relationship with a concept. |
| 14410 | You believe you existed last year, but your segment doesn't, so they have different beliefs [Merricks] |
| Full Idea: Your belief that you existed in the year 2000 is true; the belief of a segment of you that it then existed is false; so, by the indiscernibility of identicals, there must be two beliefs here. | |
| From: Trenton Merricks (Truth and Ontology [2007], 6.IV n20) | |
| A reaction: Merricks may be begging the question here. But in the segment view there is nothing which can truly believe it existed a year ago, so therefore nothing here has continued existence, so the segments cannot be part of a single thing. |
| 14417 | Counterfactuals aren't about actuality, so they lack truthmakers or a supervenience base [Merricks] |
| Full Idea: A counterfactual is not appropriately about the way anything is, …but about how something would be, had other things differed from how they actually are. As a result, true counterfactuals have neither truthmakers nor a superveniece base. | |
| From: Trenton Merricks (Truth and Ontology [2007], 7.IV) | |
| A reaction: Might not the truthmakers for counterfactuals reside in the dispositional facts about actuality? We assess the truth of counterfactuals in degrees, so something must determine our views. |
| 14402 | If 'Fido is possibly black' depends on Fido's counterparts, then it has no actual truthmaker [Merricks] |
| Full Idea: If Fido's being possibly black reduces (in Lewis's account) to the existence of black counterparts of Fido, then 'Fido is possibly black' is actually true, but it has no actually existing truthmaker. | |
| From: Trenton Merricks (Truth and Ontology [2007], 5.I) | |
| A reaction: This problem is increasingly the target of my views about dispositions and powers. Fido is not possibly a prize-winning novelist, but is possibly dead or in good health, because of the actual nature and dispositions of Fido. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |
| 14406 | Presentists say that things have existed and will exist, not that they are instantaneous [Merricks] |
| Full Idea: Presentists deny that everything is instantaneous; they think that many objects not only exist, but also have existed and will exist. | |
| From: Trenton Merricks (Truth and Ontology [2007], 6.I) | |
| A reaction: The second half is because presentists are committed to the truth of tensed existence claims (despite a lack of any theory as to how they work). Does anyone hold a theory of Instantaneousism? |
| 14407 | Presentist should deny there is a present time, and just say that things 'exist' [Merricks] |
| Full Idea: I think presentists should deny that there is anything at all that is the present time, just as they should deny that there are past times or future times. They should say that existing at the present time is just 'existing'. | |
| From: Trenton Merricks (Truth and Ontology [2007], 6.I) | |
| A reaction: The whole context is needed to understand Merrick's interesting claim. If there is no present, when can events happen? |
| 14411 | Maybe only presentism allows change, by now having a property, and then lacking it [Merricks] |
| Full Idea: Maybe presentism alone allows for genuine change, by permitting the direct having of a property by something and then, later, the absolute lacking of that property by that same thing. | |
| From: Trenton Merricks (Truth and Ontology [2007], 6.IV n23) | |
| A reaction: Four-dimensionalism (perdurantism) is the view which is most often charged with not explaining change, and that tends to be associated with eternalism. Are there just two coherent packages of views here? |
| 14405 | How can a presentist explain an object's having existed? [Merricks] |
| Full Idea: I am not sure what account presentists should give of an object's having existed. | |
| From: Trenton Merricks (Truth and Ontology [2007], 6.I) | |
| A reaction: Personally I am pretty puzzled by the eternalist and growing-block accounts of an object having existed, so we are all up a gum tree here. The best bet is to pull truth and existence apart, but heaven knows what that implies. See Idea 14399. |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |