47 ideas
| 10455 | Free logic at least allows empty names, but struggles to express non-existence [Bach] |
| Full Idea: Unlike standard first-order logic, free logic can allow empty names, but still has to deny existence by either representing it as a predicate, or invoke some dubious distinction such as between existence and being. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L1) |
| 15375 | If terms change their designations in different states, they are functions from states to objects [Fitting] |
| Full Idea: The common feature of every designating term is that designation may change from state to state - thus it can be formalized by a function from states to objects. | |
| From: Melvin Fitting (Intensional Logic [2007], 3) | |
| A reaction: Specifying the objects sounds OK, but specifying states sounds rather tough. |
| 15376 | Intensional logic adds a second type of quantification, over intensional objects, or individual concepts [Fitting] |
| Full Idea: To first order modal logic (with quantification over objects) we can add a second kind of quantification, over intensions. An intensional object, or individual concept, will be modelled by a function from states to objects. | |
| From: Melvin Fitting (Intensional Logic [2007], 3.3) |
| 15378 | Awareness logic adds the restriction of an awareness function to epistemic logic [Fitting] |
| Full Idea: Awareness logic enriched Hintikka's epistemic models with an awareness function, mapping each state to the set of formulas we are aware of at that state. This reflects some bound on the resources we can bring to bear. | |
| From: Melvin Fitting (Intensional Logic [2007], 3.6.1) | |
| A reaction: [He cites Fagin and Halpern 1988 for this] |
| 15379 | Justication logics make explicit the reasons for mathematical truth in proofs [Fitting] |
| Full Idea: In justification logics, the logics of knowledge are extended by making reasons explicit. A logic of proof terms was created, with a semantics. In this, mathematical truths are known for explicit reasons, and these provide a measure of complexity. | |
| From: Melvin Fitting (Intensional Logic [2007], 3.6.1) |
| 11026 | Classical logic is deliberately extensional, in order to model mathematics [Fitting] |
| Full Idea: Mathematics is typically extensional throughout (we write 3+2=2+3 despite the two terms having different meanings). ..Classical first-order logic is extensional by design since it primarily evolved to model the reasoning of mathematics. | |
| From: Melvin Fitting (Intensional Logic [2007], §1) |
| 10454 | In first-order we can't just assert existence, and it is very hard to deny something's existence [Bach] |
| Full Idea: In standard logic we can't straightforwardly say that n exists. We have to resort to using a formula like '∃x(x=n)', but we can't deny n's existence by negating that formula, because standard first-order logic disallows empty names. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L1) |
| 10453 | In logic constants play the role of proper names [Bach] |
| Full Idea: In standard first-order logic the role of proper names is played by individual constants. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L1) |
| 10452 | Proper names can be non-referential - even predicate as well as attributive uses [Bach] |
| Full Idea: Like it or not, proper names have non-referential uses, including not only attributive but even predicate uses. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L1) | |
| A reaction: 'He's a right little Hitler'. 'You're doing a George Bush again'. 'Try to live up to the name of Churchill'. |
| 10456 | Millian names struggle with existence, empty names, identities and attitude ascription [Bach] |
| Full Idea: The familiar problems with the Millian view of names are the problem of positive and negative existential statements, empty names, identity sentences, and propositional attitude ascription. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L1) | |
| A reaction: I take this combination of problems to make an overwhelming case against the daft idea that the semantics of a name amounts to the actual object it picks out. It is a category mistake to attempt to insert a person into a sentence. |
| 10440 | An object can be described without being referred to [Bach] |
| Full Idea: An object can be described without being referred to. | |
| From: Kent Bach (What Does It Take to Refer? [2006], Intro) | |
| A reaction: I'm not clear how this is possible for a well-known object, though it is clearly possible for a speculative object, such as a gadget I would like to buy. In the former case reference seems to occur even if the speaker is trying to avoid it. |
| 10444 | Definite descriptions can be used to refer, but are not semantically referential [Bach] |
| Full Idea: If Russell is, as I believe, basically right, then definite descriptions are the paradigm of singular terms that can be used to refer but are not linguistically (semantically) referential. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.1 s5) | |
| A reaction: I'm not sure that we can decide what is 'semantically referential'. Most of the things we refer to don't have names. We don't then 'use' definite descriptions (I'm thinking) - they actually DO the job. If we use them, we can 'use' names too? |
| 11028 | λ-abstraction disambiguates the scope of modal operators [Fitting] |
| Full Idea: λ-abstraction can be used to abstract and disambiguate a predicate. De re is [λx◊P(x)](f) - f has the possible-P property - and de dicto is ◊[λxP(x)](f) - possibly f has the P-property. Also applies to □. | |
| From: Melvin Fitting (Intensional Logic [2007], §3.3) | |
| A reaction: Compare the Barcan formula. Originated with Church in the 1930s, and Carnap 1947, but revived by Stalnaker and Thomason 1968. Because it refers to the predicate, it has a role in intensional versions of logic, especially modal logic. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 15377 | Definite descriptions pick out different objects in different possible worlds [Fitting] |
| Full Idea: Definite descriptions pick out different objects in different possible worlds quite naturally. | |
| From: Melvin Fitting (Intensional Logic [2007], 3.4) | |
| A reaction: A definite description can pick out the same object in another possible world, or a very similar one, or an object which has almost nothing in common with the others. |
| 12900 | How could 'S knows he has hands' not have a fixed content? [Bach] |
| Full Idea: How can it be that a sentence like 'George knows that he has hands', even with time and references fixed, does not have a fixed propositional content? | |
| From: Kent Bach (The Emperor's New 'Knows' [2005], I) | |
| A reaction: The appeal is to G.E. Moore's common sense view of immediate knowledge (Idea 6349). The reply is simply that the word 'knows' shifts its meaning, having high standards in sceptical philosophy classes, and low standards on the street. |
| 12901 | If contextualism is right, knowledge sentences are baffling out of their context [Bach] |
| Full Idea: Contextualism seems to predict that if you encounter a knowledge attribution out of context you won't be in a position to grasp which proposition the sentence expresses. | |
| From: Kent Bach (The Emperor's New 'Knows' [2005], I) | |
| A reaction: It is only the word 'knows' which is at issue in the sentence. If someone is said to 'know' about the world of the fairies, we might well be puzzled as to what proposition was being expressed. Is the word 'flat' baffling out of context? |
| 12902 | Sceptics aren't changing the meaning of 'know', but claiming knowing is tougher than we think [Bach] |
| Full Idea: When a sceptic brings up far-fetched possibilities and argues that we can't rule them out, he is not raising the standard for the word 'know'. He is showing it is tougher than we realise for a belief to qualify as normal knowledge at all. | |
| From: Kent Bach (The Emperor's New 'Knows' [2005], III) | |
| A reaction: [Bach cites Richard Feldman for this idea] I think that what happens in the contextual account is that 'true', 'belief' and 'know' retain their standard meaning, and it is 'justified' which shifts. 'I am fully justified' can have VERY different meanings! |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 10446 | Fictional reference is different inside and outside the fiction [Bach] |
| Full Idea: We must distinguish 'reference' in a fiction from reference outside the fiction to fictional entities. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.1) | |
| A reaction: This may be more semantically than ontologically significant. It is perhaps best explicated by Coleridge's distinction over whether or not I am 'suspending my disbelief' when I am discussing a character. |
| 10447 | We can refer to fictional entities if they are abstract objects [Bach] |
| Full Idea: If fictional entities, such as characters in a play, are real, albeit abstract entities, then we can genuinely refer to them. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.1) | |
| A reaction: [He cites Nathan Salmon 1998] Personally I would prefer to say that abstract entities are fictions. Fictional characters have uncertain identity conditions. Do they all have a pancreas, if this is never mentioned? |
| 10443 | You 'allude to', not 'refer to', an individual if you keep their identity vague [Bach] |
| Full Idea: If you say 'a special person is coming to visit', you are not referring to but merely 'alluding to' that individual. This does not count as referring because you are not expressing a singular proposition about it. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.1 s2) | |
| A reaction: If you add 'I hope he doesn't wear his red suit, but I hope he plays his tuba', you seem to be expressing singular propositions about the person. Bach seems to want a very strict notion of reference, as really attaching listeners to individuals. |
| 10439 | What refers: indefinite or definite or demonstrative descriptions, names, indexicals, demonstratives? [Bach] |
| Full Idea: Philosophers agree that some expressions refer, but disagree over which ones. Few include indefinite descriptions, but some include definite descriptions, or only demonstrative descriptions. Some like proper names, some only indexicals and demonstratives. | |
| From: Kent Bach (What Does It Take to Refer? [2006], Intro) | |
| A reaction: My initial prejudice is rather Strawsonian - that people refer, not language, and it can be done in all sorts of ways. But Bach argues well that only language intrinsically does it. Even pointing fails without linguistic support. |
| 10441 | If we can refer to things which change, we can't be obliged to single out their properties [Bach] |
| Full Idea: We can refer to things which change over time, which suggests that in thinking of and in referring to an individual we are not constrained to represent it as that which has certain properties. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.1) | |
| A reaction: This seems a good argument against the descriptive theory of reference which is not (I think) in Kripke. Problems like vagueness and the Ship of Theseus rear their heads. |
| 10442 | We can think of an individual without have a uniquely characterizing description [Bach] |
| Full Idea: Being able to think of an individual does not require being able to identify that individual by means of a uniquely characterizing description. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.1 s1) | |
| A reaction: There is a bit of an equivocation over 'recognise' here. His example is 'the first child born in the 4th century'. We can't visually recognise such people, but the description does fix them, and a records office might give us 'recognition'. |
| 10445 | It can't be real reference if it could refer to some other thing that satisfies the description [Bach] |
| Full Idea: If one is referring to whatever happens to satisfy a description, and one would be referring to something else were it to have satisfied the description instead, this is known as 'weak' reference,...but surely this is not reference at all. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.1 s7) | |
| A reaction: Bach wants a precise notion of reference, as success in getting the audience to focus on the correct object. He talks of this case as 'singling out' some unfixed thing, and he also has 'alluding to' an unstated thing. Plausible view. |
| 10457 | Since most expressions can be used non-referentially, none of them are inherently referential [Bach] |
| Full Idea: An embarrassingly simple argument is that most expressions can be used literally but not referentially, no variation in meaning explains this fact, so its meaning is compatible with being non-referential, so no expression is inherently referential. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L2) | |
| A reaction: I think I have decided that no expression is 'inherently referential', and that it is all pragmatics. |
| 10463 | Just alluding to or describing an object is not the same as referring to it [Bach] |
| Full Idea: Much of what speakers do that passes for referring is merely alluding or describing. ...It is one thing for a speaker to express a thought about a certain object using an expression, and quite another for the expression to stand for that object. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.3) | |
| A reaction: Bach builds up a persuasive case for this view. If the question, though, is 'what are you talking about?', then saying what is being alluded to or singled out or described seems fine. Bach is being rather stipulative. |
| 10459 | Context does not create reference; it is just something speakers can exploit [Bach] |
| Full Idea: Context does not determine or constitute reference; rather, it is something for the speaker to exploit to enable the listener to determine the intended reference. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L3) | |
| A reaction: Bach thinks linguistic reference is a matter of speaker's intentions, and I think he is right. And this idea is right too. The domain of quantification constantly shifts in a conversation, and good speakers and listeners are sensitive to this. |
| 10460 | 'That duck' may not refer to the most obvious one in the group [Bach] |
| Full Idea: If one ducks starts quacking furiously, and you say 'that duck is excited', it isn't context that makes me take it that you are referring to the quacking duck. You could be referring to a quiet duck you recognise by its distinctive colour. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L3) | |
| A reaction: A persuasive example to make his point against the significance of context in conversational reference. Speaker's intended reference must always trump any apparent reference suggested by context. |
| 10461 | What a pronoun like 'he' refers back to is usually a matter of speaker's intentions [Bach] |
| Full Idea: To illustrate speakers' intentions, consider the anaphoric reference using pronouns in these: "A cop arrested a robber; he was wearing a badge", and "A cop arrested a robber; he was wearing a mask". The natural supposition is not the inevitable one. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L4) | |
| A reaction: I am a convert to speakers' intentions as the source of all reference, and this example seems to illustrate it very well. 'He said..' 'Who said?' |
| 10462 | Information comes from knowing who is speaking, not just from interpretation of the utterance [Bach] |
| Full Idea: It is a fallacy that all the information in an utterance must come from its interpretation, which ignores the essentially pragmatic fact that the speaker is making the utterance. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L4) | |
| A reaction: [He cites Barwise and Perry 1983:34] This is blatantly obvious in indexical remarks like 'I am tired', where the words don't tell you who is tired. But also 'the car has broken down, dear'. |
| 10458 | People slide from contextual variability all the way to contextual determination [Bach] |
| Full Idea: People slide from contextual variability to context relativity to context sensitivity to context dependence to contextual determination. | |
| From: Kent Bach (What Does It Take to Refer? [2006], 22.2 L3) | |
| A reaction: This is reminiscent of the epistemological slide from cultural or individual relativity of some observed things, to a huge metaphysical denial of truth. Bach's warning applies to me, as I have been drifting down his slope lately. Nice. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |