46 ideas
| 15879 | The Square of Opposition has two contradictory pairs, one contrary pair, and one sub-contrary pair [Harré] |
| Full Idea: Square of Opposition: 'all A are B' and 'no A are B' are contraries; 'some A are B' and 'some A are not B' are sub-contraries; the pairs 'all A are B'/'some A are B' and 'no A are B'/'some A are B' are contradictories. | |
| From: Rom Harré (Laws of Nature [1993], 3) | |
| A reaction: [the reader may construct his own diagram from this description!] The contraries are at the extremes of contradiction, but the sub-contraries are actual compatible. You could add possible worlds to this picture. |
| 15891 | Traditional quantifiers combine ordinary language generality and ontology assumptions [Harré] |
| Full Idea: The generalising function and the ontological function of discourse are elided in the traditional quantifier. | |
| From: Rom Harré (Laws of Nature [1993], 5) | |
| A reaction: This simple point strikes me as helping enormously to disentangle the mess created by over-emphasis on formal logic in ontology, and especially in the Quinean concept of 'ontological commitment'. |
| 15878 | Some quantifiers, such as 'any', rule out any notion of order within their range [Harré] |
| Full Idea: The quantifier 'any' unambiguously rules out any presupposition of order in the members of the range of individuals quantified. | |
| From: Rom Harré (Laws of Nature [1993], 3) | |
| A reaction: He contrasts this with 'all', 'each' and 'every', which are ambiguous in this respect. |
| 15874 | Scientific properties are not observed qualities, but the dispositions which create them [Harré] |
| Full Idea: The properties of material things with which the sciences deal are not the qualities we observe them to have, but the dispositions of those things to engender the states and qualities we observe. | |
| From: Rom Harré (Laws of Nature [1993], 2) | |
| A reaction: I take this to be the correct use of the word 'qualities', so that properties are not qualities (in the way Heil would like). |
| 15884 | Laws of nature remain the same through any conditions, if the underlying mechanisms are unchanged [Harré] |
| Full Idea: A statement is a law of nature if it is true in all those worlds which differ only as to their initial conditions, that is in which the underlying mechanisms of nature are the same. | |
| From: Rom Harré (Laws of Nature [1993], 4) | |
| A reaction: Harré takes it that laws of nature have to be necessary, by definition. I like this way of expressing natural necessity, in terms of 'mechanisms' rather than of 'laws'. Where do the mechanisms get their necessity? |
| 15880 | In physical sciences particular observations are ordered, but in biology only the classes are ordered [Harré] |
| Full Idea: In the physical sciences the particular observations and experimental results are usually orderable, while in the biological sciences it is the classes of organism which are ordered, not the particular organisms. | |
| From: Rom Harré (Laws of Nature [1993], 3) | |
| A reaction: Harré is interesting on the role of ordering in science. Functions can be defined by an order. Maths feeds on orderings. Physics, he notes, focuses on things which vary together. |
| 15869 | Reports of experiments eliminate the experimenter, and present results as the behaviour of nature [Harré] |
| Full Idea: In accounts of experiments, by Faraday and others, the role of the guiding hand of the actual experimenter is written out in successive accounts. The effect is to display the phenomenon as a natural occurrence, existing independently of the experiments. | |
| From: Rom Harré (Laws of Nature [1993], 1) | |
| A reaction: He records three stages in Faraday's reports. The move from active to passive voice is obviously part of it. The claim of universality is thus implicit rather than explicit. |
| 15881 | We can save laws from counter-instances by treating the latter as analytic definitions [Harré] |
| Full Idea: When we come upon a counter-instance to a generalisation we can save the putative law, by treating it as potentially analytic and claiming it as a definition. ...Thus magnetism doesn't hold for phosphorus, so we say phosphorus is not a magnetic substance. | |
| From: Rom Harré (Laws of Nature [1993], 3) | |
| A reaction: He notes this as being particularly true when the laws concern the dispositions of substances, rather than patterns of events. |
| 15882 | Since there are three different dimensions for generalising laws, no one system of logic can cover them [Harré] |
| Full Idea: Since there are three different dimensions of generality into which every law of nature is generalised, there can be no one system of logic which will govern inference to or from every law of every kind. | |
| From: Rom Harré (Laws of Nature [1993], 3) | |
| A reaction: This is aimed at the covering-law approach, which actually aims to output observations as logical inferences from laws. Wrong. |
| 15887 | 'Grue' introduces a new causal hypothesis - that emeralds can change colour [Harré] |
| Full Idea: In introducing the predicate 'grue' we also introduce an additional causal hypothesis into our chemistry and physics; namely, that when observed grue emeralds change from blue to green. | |
| From: Rom Harré (Laws of Nature [1993], 5) | |
| A reaction: [The 'when observered' is a Harré addition] I hate 'grue'. Only people who think our predicates have very little to do with reality are impressed by it. Grue is a behaviour, not a colour. |
| 15888 | The grue problem shows that natural kinds are central to science [Harré] |
| Full Idea: The grue problem illustrates the enormous importance that the concept of a natural-kind plays in real science. | |
| From: Rom Harré (Laws of Nature [1993], 5) | |
| A reaction: The point is that we took emeralds to be a natural kind, but 'grue' proposes that they aren't, since stability is the hallmark of a natural kind. |
| 15889 | It is because ravens are birds that their species and their colour might be connected [Harré] |
| Full Idea: It is because ravens are birds that it makes sense to contemplate the possibility of a lawful relation between their species and their colour. | |
| From: Rom Harré (Laws of Nature [1993], 5) | |
| A reaction: Compare the 'laws' concerning leaf colour in autumn, and the 'laws' concerning packaging colour in supermarkets. Harré's underlying point is that raven colour concerns mechanism. |
| 15890 | Non-black non-ravens just aren't part of the presuppositions of 'all ravens are black' [Harré] |
| Full Idea: Non-black non-ravens have no role to play in assessing the plausibility of 'All ravens are black' because their existence is not among the existential presuppositions of that statement. | |
| From: Rom Harré (Laws of Nature [1993], 5) | |
| A reaction: [He cites Strawson for the 'presupposition' approach] |
| 15885 | The necessity of Newton's First Law derives from the nature of material things, not from a mechanism [Harré] |
| Full Idea: The 'must' of Newton's First Law is different. There is no deeper level relative to the processes described to give a mechanism which generates uniform motion. There is no such mechanism. ..It specifies what it is for something to be a material thing. | |
| From: Rom Harré (Laws of Nature [1993], 4) | |
| A reaction: Harré says the law can only exist as part of a network of other ideas. |
| 15868 | Idealisation idealises all of a thing's properties, but abstraction leaves some of them out [Harré] |
| Full Idea: An 'idealisation' preserves all the properties of the source but it possesses these properties in some ideal or perfect form. ...An 'abstraction', on the other hand, lacks certain features of its source. | |
| From: Rom Harré (Laws of Nature [1993], 1) | |
| A reaction: Yet another example in contemporary philosophy of a clear understanding of the sort of abstraction which Geach and others have poured scorn on. |
| 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. |
| 15886 | Science rests on the principle that nature is a hierarchy of natural kinds [Harré] |
| Full Idea: The animating principle behind the material and discursive practices of science is the thesis that nature exemplifies multiple hierarchies of natural kinds. | |
| From: Rom Harré (Laws of Nature [1993], 5) | |
| A reaction: I agree. I take it to be a brute fact that there seem to be lots of stable natural kinds, which are worth investigating as long as they stay stable. If they are unstable, there needs to be something stable to measure that by - or we give up. |
| 15864 | Classification is just as important as laws in natural science [Harré] |
| Full Idea: Classification systems, or taxonomies, are as important a part of the natural sciences as are the laws of nature. | |
| From: Rom Harré (Laws of Nature [1993], 1) | |
| A reaction: This illustrates how our view of science is radically shifted if we give biology equal prominence with physics. |
| 15865 | Newton's First Law cannot be demonstrated experimentally, as that needs absence of external forces [Harré] |
| Full Idea: We can never devise an experimental situation in which there are no external forces to act on a body. It follows that Newton's First Law could never be demonstrated by means of experiment or observation. | |
| From: Rom Harré (Laws of Nature [1993], 1) | |
| A reaction: It can't be wholly demonstrated, but certain observations conform to it, such as the movement of low friction bodies, or the movements of planetary bodies. |
| 15862 | Laws can come from data, from theory, from imagination and concepts, or from procedures [Harré] |
| Full Idea: Boyle's Law generalises a mass of messy data culled from an apparatus; Snell's Law is an experimentally derived law deducible from theory; Newton's First Law derives from concepts and thought experiments; Mendel's Law used an experimental procedure. | |
| From: Rom Harré (Laws of Nature [1993], 1) | |
| A reaction: Nice examples, especially since Boyle's and Newton's laws are divided by a huge gulf, and arrived at about the same time. On p.35 Harré says these come down to two: abstraction from experiment, and derivation from deep assumptions. |
| 15870 | Are laws of nature about events, or types and universals, or dispositions, or all three? [Harré] |
| Full Idea: What is Newton's First Law about? Is it about events? Is it about types or universals? Is it about dispositions? Or is it, in some peculiar way, about all three? | |
| From: Rom Harré (Laws of Nature [1993], 2) | |
| A reaction: If laws merely chart regularities, then I suppose they are about events (which exhibit the regular patterns). If laws explain, which would be nice, then they are only about universals if you are a platonist. Hence laws are about dispositions. |
| 15871 | Are laws about what has or might happen, or do they also cover all the possibilities? [Harré] |
| Full Idea: Is Newton's First Law about what has actually happened or is it about what might, or could possibly happen? Is it about the actual events and states of the world, or possible events and states? | |
| From: Rom Harré (Laws of Nature [1993], 2) | |
| A reaction: I presume the first sentence distinguishes between what 'might (well)' happen, and what 'could (just) possibly happen'. I take it for granted that laws predict the actual future. The question is are they true of situations which will never occur? |
| 15876 | Maybe laws of nature are just relations between properties? [Harré] |
| Full Idea: The idea of the Dretske-Armstrong-Tooley view is very simple: the laws of nature relate properties to properties. | |
| From: Rom Harré (Laws of Nature [1993], 2) | |
| A reaction: Presumably the relations are necessary ones. I don't see why we need to mention these wretched 'universals' in order to expound this theory. It sounds much more plausible if you just say a property is defined by the way it relates to other properties. |
| 15860 | We take it that only necessary happenings could be laws [Harré] |
| Full Idea: We do not take laws to be recordings of what happens perchance or for the most part, but specifications of what happens necessarily | |
| From: Rom Harré (Laws of Nature [1993], 1) | |
| A reaction: This sounds like a plausible necessary condition for a law, but it may not be a sufficient one. Are trivial necessities laws? On this view if there are no necessities then there are no laws. |
| 15872 | Must laws of nature be universal, or could they be local? [Harré] |
| Full Idea: Is a law of nature about everything in the universe or just about a restricted group of things? | |
| From: Rom Harré (Laws of Nature [1993], 2) | |
| A reaction: I presume the answer is that while a law may only refer to a small group of things, the law would still have to apply if that group moved or spread or enlarged, so it would have to be universals. A laws confined to one time or place? Maybe. |
| 15867 | Laws describe abstract idealisations, not the actual mess of nature [Harré] |
| Full Idea: The laws of nature are not simple descriptions of what can be seen to happen. They are descriptions of abstractions and idealisations from a somewhat messy reality. | |
| From: Rom Harré (Laws of Nature [1993], 1) | |
| A reaction: This view seems to have increasingly gripped modern philosophers, so that the old view of God decreeing a few simple equations to run the world has faded away. |
| 15892 | Laws of nature state necessary connections of things, events and properties, based on models of mechanisms [Harré] |
| Full Idea: A law of nature tells us what kinds of things, events and properties (all else being equal) go along with what. The 'must' of natural necessity has its place here because it is bound up with a model or analogy representing generative mechanisms. | |
| From: Rom Harré (Laws of Nature [1993], 5) | |
| A reaction: This is Harré's final page summary of laws. I agree with it. I would say that the laws are therefore descriptive, of the patterns of behaviour that arise when generative mechanisms meet. Maybe laws concern 'transformations'. |
| 15875 | In counterfactuals we keep substances constant, and imagine new situations for them [Harré] |
| Full Idea: In drawing 'countefactual' conclusions we can be thought imaginatively to vary the conditions under which the substance, set-up etc. is manipulated or stimulated, while maintaining constant our conception of the nature of the being in question. | |
| From: Rom Harré (Laws of Nature [1993], 2) | |
| A reaction: Presumably you could vary the substance and keep the situation fixed, but then the counterfactual seems to be 'about' something different. Either that or the 'situation' is a actually a set of substances to be tested. |
| 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? |
| 1513 | The Egyptians were the first to say the soul is immortal and reincarnated [Herodotus] |
| Full Idea: The Egyptians were the first to claim that the soul of a human being is immortal, and that each time the body dies the soul enters another creature just as it is being born. | |
| From: Herodotus (The Histories [c.435 BCE], 2.123.2) |