39 ideas
| 9136 | The paradox of analysis says that any conceptual analysis must be either trivial or false [Sorensen] |
| Full Idea: The paradox of analysis says if a conceptual analysis states exactly what the original statement says, then the analysis is trivial; if it says something different from the original, then the analysis is mistaken. All analyses are trivial or false. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 8.5) | |
| A reaction: [source is G.E. Moore] Good analyses typically give explanations, or necessary and sufficient conditions, or inferential relations. At their most trivial they at least produce a more profound dictionary than your usual lexicographer. Not guilty. |
| 9131 | Two long understandable sentences can have an unintelligible conjunction [Sorensen] |
| Full Idea: If there is an upper bound on the length of understandable sentences, then two understandable sentences can have an unintelligible conjunction. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 6.4) | |
| A reaction: Not a huge paradox about the use of the word 'and', perhaps, but a nice little warning to be clear about what is being claimed before you cheerfully assert a screamingly obvious law of thought, such as conjunction. |
| 9139 | If nothing exists, no truthmakers could make 'Nothing exists' true [Sorensen] |
| Full Idea: If nothing exists, then there are no truthmakers that could make 'Nothing exists' true. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 11.2) | |
| A reaction: [He cites David Lewis] We may be confusing truth with facts. I take facts to be independent of minds, but truth only makes sense as a concept in the presence of minds which are endeavouring to think well. |
| 9140 | Which toothbrush is the truthmaker for 'buy one, get one free'? [Sorensen] |
| Full Idea: If I buy two toothbrushes on a 'buy one, get one free' offer, which one did I buy and which one did I get free? Those who believe that each contingent truth has a truthmaker are forced to believe that 'buy one, get one free' is false. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 11.6) | |
| A reaction: Nice. There really is no fact of which toothbrush is the free one. The underlying proposition must presumably be 'two for the price of one'. But you could hardly fault the first slogan under the Trades Descriptions Act. |
| 9119 | No attempt to deny bivalence has ever been accepted [Sorensen] |
| Full Idea: The history of deviant logics is without a single success. Bivalence has been denied at least since Aristotle, yet no anti-bivalent theory has ever left the philosophical nursery. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], Intro) | |
| A reaction: This is part of a claim that nothing in reality is vague - it is just our ignorance of the truth or falsity of some propositions. Personally I don't see why 'Grandad is bald' has to have a determinate truth value. |
| 9135 | We now see that generalizations use variables rather than abstract entities [Sorensen] |
| Full Idea: As philosophers gradually freed themselves from the assumption that all words are names, ..they realised that generalizations really use variables rather than names of abstract entities. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 8.4) | |
| A reaction: This looks like a key thought in trying to understand abstraction - though I don't think you can shake it off that easily. (For all x)(x-is-a-bird then x-has-wings) seems to require a generalised concept of a bird to give a value to the variable. |
| 9125 | Denying problems, or being romantically defeated by them, won't make them go away [Sorensen] |
| Full Idea: An unsolvable problem is still a problem, despite Wittgenstein's view that there are no genuine philosophical problems, and Kant's romantic defeatism in his treatment of the antinomies of pure reason. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 4.3) | |
| A reaction: I like the spin put on Kant, that he is a romantic in his defeatism. He certainly seems reluctant to slash at the Gordian knot, e.g. by being a bit more drastically sceptical about free will. |
| 9137 | Banning self-reference would outlaw 'This very sentence is in English' [Sorensen] |
| Full Idea: The old objection to the ban on self-reference is that it is too broad; it bans innocent sentences such as 'This very sentence is in English'. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 11.1) | |
| A reaction: Tricky. What is the sigificant difference between 'this sentence is in English' and 'this sentence is a lie'? The first concerns context and is partly metalinguistic. The second concerns semantics and truth. Concept and content.. |
| 9116 | Vague words have hidden boundaries [Sorensen] |
| Full Idea: Vague words have hidden boundaries. The subtraction of a single grain of sand might turn a heap into a non-heap. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], Intro) | |
| A reaction: The first sentence could be the slogan for the epistemic view of vagueness. The opposite view is Sainsbury's - that vague words are those which do not have any boundaries. Sorensen admits his view is highly counterintuitive. I think I prefer Sainsbury. |
| 9132 | An offer of 'free coffee or juice' could slowly shift from exclusive 'or' to inclusive 'or' [Sorensen] |
| Full Idea: Sometimes an exclusive 'or' gradually develops into an inclusive 'or'. A restaurant offers 'free coffee or juice'. The customers ask for both, and gradually they are given it, first as a courtesy, and eventually as an expectation. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 7.2) | |
| A reaction: [compressed] A very nice example - of the rot of vagueness even seeping into the basic logical connectives. We don't have to accept it, though. Each instance of usage of 'or', by manager or customer, might be clearly one or the other. |
| 9128 | It is propositional attitudes which can be a priori, not the propositions themselves [Sorensen] |
| Full Idea: The primary bearer of apriority is the propositional attitude (believing, knowing, guessing and so on) rather than the proposition itself. A proposition could be a priori to homo sapiens but a posteriori to Neandethals. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 6.3) | |
| A reaction: A putative supreme being is quite useful here, who might even see the necessity of Arsenal beating Manchester United next Saturday. Unlike infants, adults know a priori that square pegs won't fit round holes. |
| 9130 | Attributing apriority to a proposition is attributing a cognitive ability to someone [Sorensen] |
| Full Idea: Every attribution of apriority to a proposition is tacitly an attribution of a cognitive ability to some thinker. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 6.3) | |
| A reaction: The ability would include a range of background knowledge, as well as a sheer power of intellect. If you know all of Euclid's theorems, you will spot facts about geometrical figues quicker than me. His point is important. |
| 9118 | The colour bands of the spectrum arise from our biology; they do not exist in the physics [Sorensen] |
| Full Idea: The bands of colour in a colour spectrum do not correspond to objective discontinuities in light wavelengths. These apparently external bands arise from our biology rather than simple physics. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], Intro) | |
| A reaction: If any more arguments are needed to endorse the fact that some qualities are clearly secondary (and, to my amazement, such arguments seem to be very much needed), I would take this to be one of the final conclusive pieces of evidence. |
| 9124 | We are unable to perceive a nose (on the back of a mask) as concave [Sorensen] |
| Full Idea: The human perceptual system appears unable to represent a nose as concave rather than convex. If you look at the concave side of a mask, you see the features as convex. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 4.3) | |
| A reaction: I don't think that is quite true. You wouldn't put a mask on if you thought it was convex. It is usually when seen at a distance with strong cross-lighting that the effect emerges. Nevertheless, it is an important point. |
| 9126 | Bayesians build near-certainty from lots of reasonably probable beliefs [Sorensen] |
| Full Idea: Bayesians demonstrate that a self-correcting agent can build an imposing edifice of near-certain knowledge from numerous beliefs that are only slightly more probable than not. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 6.1) | |
| A reaction: This strikes me as highly significant for the coherence account of justification, even if one is sceptical about the arithmetical approach to belief of Bayesianism. It seems obvious that lots of quite likely facts build towards certainty, Watson. |
| 9121 | Illusions are not a reason for skepticism, but a source of interesting scientific information [Sorensen] |
| Full Idea: Philosophers tend to associate illusions with skepticism. But since illusions are signs of modular construction, they are actually reason for scientific hope. Illusions have been very useful in helping us to understand vision. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 1.4) | |
| A reaction: This is a nice reversal of the usual view. If I see double, it reveals to me that my eyes are not aligned properly. Anyone led to scepticism by illusions should pay more attention to themselves, and less to the reality they hope to know directly. |
| 9134 | The negation of a meaningful sentence must itself be meaningful [Sorensen] |
| Full Idea: The negation of any meaningful sentence must itself be meaningful. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 8.1) | |
| A reaction: Nice. Compare 'there is another prime number beyond the highest one we have found' with its negation. The first seems verifiable in principle, but the second one doesn't. So the verificationist must deny Sorensen's idea? |
| 9133 | Propositions are what settle problems of ambiguity in sentences [Sorensen] |
| Full Idea: Propositions play the role of dis-ambiguators; they are the things between which utterances are ambiguous. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 7.7) | |
| A reaction: I have become a great fan of propositions, and I think this is one of the key reasons for believing in them. The proposition is what we attempt to pin down when asked 'what exactly did you mean by what you just said?' |
| 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. |
| 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! |
| 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. |
| 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. |
| 9129 | I can buy any litre of water, but not every litre of water [Sorensen] |
| Full Idea: I am entitled to buy any litre of water, but I am not entitled to buy every litre of water. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 6.3) | |
| A reaction: A decent social system must somehow draw a line between buying up all the water and buying up all the paintings of Vermeer. Even the latter seems wicked, but it is hard to pin down the reason. |
| 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? |
| 9122 | God cannot experience unwanted pain, so God cannot understand human beings [Sorensen] |
| Full Idea: Theologians worry that God may be an alien being. God cannot feel pain since pain is endured against one's will. God is all powerful and suffers nothing against His Will. To understand pain, one must experience pain. So God's power walls him off from us. | |
| From: Roy Sorensen (Vagueness and Contradiction [2001], 3.2) | |
| A reaction: I can't think of a good theological reply to this. God, and Jesus too (presumably), can only experience pain if they volunteer for it. It is inconceivable that they could be desperate for it to stop, but were unable to achieve that. |
| 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? |