12 ideas
| 7295 | Maybe induction is only reliable IF reality is stable [Mitchell,A] |
| Full Idea: Maybe we should say that IF regularities are stable, only then is induction a reliable procedure. | |
| From: Alistair Mitchell (talk [2006]), quoted by PG - Db (ideas) | |
| A reaction: This seems to me a very good proposal. In a wildly unpredictable reality, it is hard to see how anyone could learn from experience, or do any reasoning about the future. Natural stability is the axiom on which induction is built. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 22717 | Self-interest can fairly divide a cake; first person cuts, second person chooses [Poundstone] |
| Full Idea: To fairly divide a cake between two children, the first divides it and the second chooses. …Even division is best, as it anticipates the second child will take the largest piece. Fairness is enforced by the children's self-interests. | |
| From: William Poundstone (Prisoner's Dilemma [1992], 03 'Cake') | |
| A reaction: [compressed] This is introduced as the basic principle of game theory. There is an online video of two cats sharing a dish of milk; each one drinks a bit, then pushes the dish to the other one. I'm sure two children could manage that. |
| 22718 | Formal game theory is about maximising or minimising numbers in tables [Poundstone] |
| Full Idea: At the most abstract level, game theory is about tables with numbers in them - numbers that entities are are efficiently acting to maximise or minimise. | |
| From: William Poundstone (Prisoner's Dilemma [1992], 03 'Curve') | |
| A reaction: A brilliant idea. The question is the extent to which real life conforms to the numberical tables. The assumption that everyone is entirely self-seeking is blatantly false. Numbers like money have diminishing marginal utility. |
| 22719 | The minimax theorem says a perfect game of opposed people always has a rational solution [Poundstone] |
| Full Idea: The minimax theorem says that there is always a rational solution to a precisely defined conflict between two people whose interests are completely opposite. | |
| From: William Poundstone (Prisoner's Dilemma [1992], 03 'Minimax') | |
| A reaction: This is Von Neumann's founding theorem of game theory. It concerns maximising minimums, and minimising maximums. Crucially, I would say that it virtually never occurs that two people have completely opposite interests. There is a common good. |
| 22721 | The tragedy in prisoner's dilemma is when two 'nice' players misread each other [Poundstone] |
| Full Idea: The tragedy is when two 'nice' players defect because they misread the other's intentions. The puzzle of the prisoner's dilemma is how such good intentions pave the road to hell. | |
| From: William Poundstone (Prisoner's Dilemma [1992], 11 'Howard's') | |
| A reaction: I really wish these simple ideas were better known. They more or less encapsulate the tragedy of the human race, with its inability to prioritise the common good. |
| 22720 | Two prisoners get the best result by being loyal, not by selfish betrayal [Poundstone] |
| Full Idea: Prisoners A and B can support or betray one another. If both support, they each get 1 year in prison. If one betrays, the betrayer gets 0 and the betrayed gets 3. If they both betray they get 2 each. The common good is to support each other. | |
| From: William Poundstone (Prisoner's Dilemma [1992], 06 'Tucker's') | |
| A reaction: [by Albert Tucker, highly compressed] The classic Prisoner's Dilemma. It is artificial, but demonstrates that selfish behaviour gets a bad result (total of four years imprisonment), but the common good gets only two years. Every child should study this! |
| 22723 | Do unto others as you would have them do unto you - or else! [Poundstone] |
| Full Idea: TIT FOR TAT threatens 'Do unto others as you would have them do unto you - or else!'. | |
| From: William Poundstone (Prisoner's Dilemma [1992], 12 'TIT') | |
| A reaction: Essentially human happiness arises if we are all nice, but also stand up firmly for ourselves. 'Doormats' (nice all the time) get exploited. TIT FOR TAT is weak, because it doesn't exploit people who don't respond at all. |
| 22722 | TIT FOR TAT says cooperate at first, then do what the other player does [Poundstone] |
| Full Idea: The successful TIT FOR TAT strategy (for the iterated prisoner's dilemma) says cooperate on the first round, then do whatever the other player did in the previous round. | |
| From: William Poundstone (Prisoner's Dilemma [1992], 12 'TIT') | |
| A reaction: There are also the tougher TWO TITS FOR A TAT, and the more forgiving TIT FOR TWO TATS. The one-for-one seems to be the main winner, and is commonly seen in animal life (apparently). I recommend this to school teachers. |