17 ideas
| 2510 | Traditionally philosophy is an a priori enquiry into general truths about reality [Katz] |
| Full Idea: The traditional conception of philosophy is that it is an a priori enquiry into the most general facts about reality. | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xi) | |
| A reaction: I think this still defines philosophy, though it also highlights the weakness of the subject, which is over-confidence about asserting necessary truths. How could the most god-like areas of human thought be about anything else? |
| 2516 | Most of philosophy begins where science leaves off [Katz] |
| Full Idea: Philosophy, or at least one large part of it, is subsequent to science; it begins where science leaves off. | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xxi) | |
| A reaction: In some sense this has to be true. Without metaphysics there couldn't be any science. Rationalists should not forget, though, the huge impact which Darwin's science has (or should have) on fairly abstract philosophy (e.g. epistemology). |
| 2521 | 'Real' maths objects have no causal role, no determinate reference, and no abstract/concrete distinction [Katz] |
| Full Idea: Three objections to realism in philosophy of mathematics: mathematical objects have no space/time location, and so no causal role; that such objects are determinate, but reference to numbers aren't; and that there is no abstract/concrete distinction. | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xxix) |
| 16051 | Life has a new supervenient relation, which alters its underlying physical events [Morgan,L] |
| Full Idea: When some new kind of relatedness is supervenient (say at the level of life), the way in which the physical events which are involved run their course is different in virtue of its presence. | |
| From: Lloyd Morgan (Emergent Evolution [1923], pp.15-16), quoted by Terence Horgan - From Supervenience to Superdupervenience 1 | |
| A reaction: This is a clear assertion of 'downward causation' at the first introduction of 'supervenience', supporting 'emergentism' about life and mind. That is, the newly-emerged feature has new causal powers that affect the physical system from outside. Wrong! |
| 2513 | We don't have a clear enough sense of meaning to pronounce some sentences meaningless or just analytic [Katz] |
| Full Idea: Linguistic meaning is not rich enough to show either that all metaphysical sentences are meaningless or that all alleged synthetic a priori propositions are just analytic a priori propositions. | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xx) |
| 2522 | Experience cannot teach us why maths and logic are necessary [Katz] |
| Full Idea: The Leibniz-Kant criticism of empiricism is that experience cannot teach us why mathematical and logical facts couldn't be otherwise than they are. | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xxxi) |
| 2517 | Structuralists see meaning behaviouristically, and Chomsky says nothing about it [Katz] |
| Full Idea: In linguistics there are two schools of thought: Bloomfieldian structuralism (favoured by Quine) conceives of sentences acoustically and meanings behaviouristically; and Chomskian generative grammar (which is silent about semantics). | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xxiv) | |
| A reaction: They both appear to be wrong, so there is (or was) something rotten in the state of linguistics. Are the only options for meaning either behaviourist or eliminativist? |
| 2519 | It is generally accepted that sense is defined as the determiner of reference [Katz] |
| Full Idea: There is virtually universal acceptance of Frege's definition of sense as the determiner of reference. | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xxvi) | |
| A reaction: Not any more, since Kripke and Putnam. It is one thing to say sense determines reference, and quite another to say that this is the definition of sense. |
| 2520 | Sense determines meaning and synonymy, not referential properties like denotation and truth [Katz] |
| Full Idea: Pace Frege, sense determines sense properties and relations, like meaningfulness and synonymy, rather than determining referential properties, like denotation and truth. | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xxvi) | |
| A reaction: This leaves room for Fregean 'sense', after Kripke has demolished the idea that sense determines reference. |
| 2518 | Sentences are abstract types (like musical scores), not individual tokens [Katz] |
| Full Idea: Sentences are types, not utterance tokens or mental/neural tokens, and hence sentences are abstract objects (like musical scores). | |
| From: Jerrold J. Katz (Realistic Rationalism [2000], Int.xxvi) | |
| A reaction: If sentences are abstract types, then two verbally indistinguishable sentences are the same sentence. But if I say 'I am happy', that isn't the same as you saying it. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |