47 ideas
| 11051 | Frege's logical approach dominates the analytical tradition [Hanna] |
| Full Idea: Pure logic constantly controls Frege's philosophy, and in turn Frege's logically oriented philosophy constantly controls the analytic tradition. | |
| From: Robert Hanna (Rationality and Logic [2006], 1.1) | |
| A reaction: Hanna seeks to reintroduce the dreaded psychological aspect of logic, and I say 'good for him'. |
| 11054 | Scientism says most knowledge comes from the exact sciences [Hanna] |
| Full Idea: Scientism says that the exact sciences are the leading sources of knowledge about the world. | |
| From: Robert Hanna (Rationality and Logic [2006], 1.2) | |
| A reaction: I almost agree, but I would describe the exact sciences as the chief 'evidence' for our knowledge, with the chief 'source' being our own ability to make coherent sense of the evidence. Exact sciences rest on mathematics. |
| 11070 | 'Denying the antecedent' fallacy: φ→ψ, ¬φ, so ¬ψ [Hanna] |
| Full Idea: The fallacy of 'denying the antecedent' is of the form φ→ψ, ¬φ, so ¬ψ. | |
| From: Robert Hanna (Rationality and Logic [2006], 5.4) |
| 11071 | 'Affirming the consequent' fallacy: φ→ψ, ψ, so φ [Hanna] |
| Full Idea: The fallacy of 'affirming the consequent' is of the form φ→ψ, ψ, so φ. | |
| From: Robert Hanna (Rationality and Logic [2006], 5.4) |
| 11088 | We can list at least fourteen informal fallacies [Hanna] |
| Full Idea: Informal fallacies: appeals to force, circumstantial factors, ignorance, pity, popular consensus, authority, generalisation, confused causes, begging the question, complex questions, irrelevance, equivocation, black-and-white, slippery slope etc. | |
| From: Robert Hanna (Rationality and Logic [2006], 7.3) |
| 11059 | Circular arguments are formally valid, though informally inadmissible [Hanna] |
| Full Idea: A circular argument - one whose conclusion is to be found among its premises - is inadmissible in most informal contexts, even though it is formally valid. | |
| From: Robert Hanna (Rationality and Logic [2006], 2.1) | |
| A reaction: Presumably this is a matter of conversational implicature - that you are under a conventional obligation to say things which go somewhere, rather than circling around their starting place. |
| 11089 | Formally, composition and division fallacies occur in mereology [Hanna] |
| Full Idea: Informal fallacies of composition and division go over into formal fallacies of mereological logic. | |
| From: Robert Hanna (Rationality and Logic [2006], 7.3) |
| 11058 | Logic is explanatorily and ontologically dependent on rational animals [Hanna] |
| Full Idea: Logic is explanatorily and ontologically dependent on rational animals. | |
| From: Robert Hanna (Rationality and Logic [2006], 1.6) | |
| A reaction: This is a splendid defiance of the standard Fregean view of logic as having an inner validity of its own, having nothing to do with the psychology of thinkers. But if Hanna is right, why does logical consequence seem to be necessary? |
| 11072 | Logic is personal and variable, but it has a universal core [Hanna] |
| Full Idea: Beyond an innate and thus universally share protologic, each reasoner's mental logic is only more or less similar to the mental logic of any other reasoner. | |
| From: Robert Hanna (Rationality and Logic [2006], 5.7) | |
| A reaction: This is the main thesis of Hanna's book. I like the combination of this idea with Stephen Read's remark that each student should work out a personal logic which has their own private endorsement. |
| 11061 | Intensional consequence is based on the content of the concepts [Hanna] |
| Full Idea: In intensional logic the consequence relation is based on the form or content of the concepts or properties expressed by the predicates. | |
| From: Robert Hanna (Rationality and Logic [2006], 2.2) |
| 11063 | Logicism struggles because there is no decent theory of analyticity [Hanna] |
| Full Idea: All versions of the thesis that arithmetic is reducible to logic remain questionable as long as no good theory of analyticity is available. | |
| From: Robert Hanna (Rationality and Logic [2006], 2.4) | |
| A reaction: He rejects the attempts by Frege, Wittgenstein and Carnap to provide a theory of analyticity. |
| 11055 | Supervenience can add covariation, upward dependence, and nomological connection [Hanna] |
| Full Idea: 'Strong supervenience' involves necessary covariation of the properties, and upward dependence of higher level on lower level. ...If we add a nomological connection between the two, then we have 'superdupervenience'. | |
| From: Robert Hanna (Rationality and Logic [2006], 1.2) | |
| A reaction: [compressed] Very helpful. A superdupervenient relationship between mind and brain would be rather baffling if they were not essentially the same thing. (which is what I take them to be). |
| 11083 | A sentence is necessary if it is true in a set of worlds, and nonfalse in the other worlds [Hanna] |
| Full Idea: On my view, necessity is the truth of a sentence in every member of a set of possible worlds, together with its nonfalsity in every other possible worlds. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.6) |
| 11086 | Metaphysical necessity can be 'weak' (same as logical) and 'strong' (based on essences) [Hanna] |
| Full Idea: Weak metaphysical necessity is either over the set of all logically possible worlds (in which case it is the same as logical necessity), or it is of a smaller set of worlds, and is determined by the underlying essence or nature of the actual world. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.6) | |
| A reaction: I take the first to be of no interest, as I have no interest in a world which is somehow rated as logically possible, but is not naturally possible. The second type should the principle aim of all human cognitive enquiry. The strong version is synthetic. |
| 11084 | Logical necessity is truth in all logically possible worlds, because of laws and concepts [Hanna] |
| Full Idea: Logical necessity is the truth of a sentence by virtue of logical laws or intrinsic conceptual connections alone, and thus true in all logically possible worlds. Put in traditional terms, logical necessity is analyticity. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.6) |
| 11085 | Nomological necessity is truth in all logically possible worlds with our laws [Hanna] |
| Full Idea: Physical or nomological necessity is the truth of a sentence in all logically possible worlds governed by our actual laws of nature. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.6) | |
| A reaction: Personally I think 'natural necessity' is the best label for this, as it avoids firm commitment to reductive physicalism, and it also avoids commitment to actual necessitating laws. |
| 11078 | Intuition is only outside the 'space of reasons' if all reasons are inferential [Hanna] |
| Full Idea: Intuition is outside the 'space of reasons' if we assume that all reasons are inferential, but inside if we assume that reasons need not always be inferential. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.4) | |
| A reaction: I take it that intuition can be firmly inside the space of reasons, and that not all reasons are inferential. |
| 11077 | Intuition includes apriority, clarity, modality, authority, fallibility and no inferences [Hanna] |
| Full Idea: The nine features of intuition are: a mental act, apriority, content-comprehensiveness, clarity and distinctness, strict-modality-attributivity, authoritativeness,noninferentiality, cognitive indispensability, and fallibility. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.4) | |
| A reaction: [See Hanna for a full explanation of this lot] Seems like a good stab at it. Note the trade-off between authority and fallibility. |
| 11080 | Intuition is more like memory, imagination or understanding, than like perception [Hanna] |
| Full Idea: There is no reason why intuition should be cognitively analogous not to sense perception but instead to either memory, imagination, or conceptual understanding. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.5) | |
| A reaction: It is Russell's spotting the analogy with memory that made me come to believe that a priori knowledge is possible, as long as we accept it as being fallible. [Hanna has a good discussion of intuition; he votes for the imagination analogy] |
| 11053 | Explanatory reduction is stronger than ontological reduction [Hanna] |
| Full Idea: As standardly construed, reduction can be either explanatory or ontological. Explanatory reduction is the strongest sort of reduction. ...Ontological reduction can still have an 'explanatory gap'. | |
| From: Robert Hanna (Rationality and Logic [2006], 1.1) |
| 11081 | Imagination grasps abstracta, generates images, and has its own correctness conditions [Hanna] |
| Full Idea: Three features of imagination are that its objects can be abstract, that it generates spatial images directly available to introspection, and its correctness conditions are not based on either efficacious causation or effective tracking. | |
| From: Robert Hanna (Rationality and Logic [2006], 6.6) | |
| A reaction: Hanna makes the imagination faculty central to our grasp of his proto-logic. |
| 11082 | Should we take the 'depictivist' or the 'descriptivist/propositionalist' view of mental imagery? [Hanna] |
| Full Idea: In the debate in cognitive science on the nature of mental imagery, there is a 'depictivist' side (Johnson-Laird, Kosslyn, Shepard - good images are isomorphic), and a 'descriptivist' or 'propositionalist' side (Pylyshyn and others). | |
| From: Robert Hanna (Rationality and Logic [2006], 6.6) | |
| A reaction: Hanna votes firmly in favour of the first view, and implies that they have more or less won the debate. |
| 11047 | Hegelian holistic rationality is the capacity to seek coherence [Hanna] |
| Full Idea: The 'holistic' (Hegelian) sense of rationality means the capacity for systematically seeking coherence (or 'reflective equilibrium') across a network or web of beliefs, desires, emotions, intentions and volitions. Traditionally 'the truth is the whole'. | |
| From: Robert Hanna (Rationality and Logic [2006], Intro) | |
| A reaction: On the whole this is my preferred view (which sounds Quinean as well as Hegelian), though I reject the notion that truth is a whole. I take coherence to be the hallmark of justification, though not of truth, and reason aims to justify. |
| 11048 | Humean Instrumental rationality is the capacity to seek contingent truths [Hanna] |
| Full Idea: The 'instrumental' (Humean) sense of rationality means a capacity for generating or recognizing contingent truths, contextually normative rules, consequentialist obligations, and hypothetical 'ought' claims. Reason is 'the slave of the passions'. | |
| From: Robert Hanna (Rationality and Logic [2006], Intro) |
| 11046 | Kantian principled rationality is recognition of a priori universal truths [Hanna] |
| Full Idea: The 'principled' (Kantian) sense of rationality means the possession of a capacity for generating or recognizing necessary truths, a priori beliefs, strictly universal normative rules, nonconsequentialist moral obligations, and categorical 'ought' claims. | |
| From: Robert Hanna (Rationality and Logic [2006], Intro) |
| 11067 | Rational animals have a normative concept of necessity [Hanna] |
| Full Idea: A rational animal is one that is a normative-reflective possessor of the concepts of necessity, certainty and unconditional obligation. | |
| From: Robert Hanna (Rationality and Logic [2006], 4.0) | |
| A reaction: The addition of obligation shows the Kantian roots of this. It isn't enough just to possess a few concepts. You wouldn't count as rational if you didn't desire truth, as well as understanding it. Robots be warned. |
| 11068 | One tradition says talking is the essence of rationality; the other says the essence is logic [Hanna] |
| Full Idea: In the tradition of Descartes, Chomsky and Davidson, rational animals are essentially talking animals. But in the view of Kant, and perhaps Fodor, it is the cognitive capacity for logic that is the essence of human rationality. | |
| From: Robert Hanna (Rationality and Logic [2006], 4.9) |
| 11045 | Most psychologists are now cognitivists [Hanna] |
| Full Idea: Most psychologists have now dropped behaviourism and adopted cognitivism: the thesis that the rational human mind is essentially an active innately specified information-processor. | |
| From: Robert Hanna (Rationality and Logic [2006], Intro) |
| 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. |
| 5954 | All inventions of the mind aim at pleasure, and those that don't are worthless [Metrodorus of Lamp., by Plutarch] |
| Full Idea: Metrodorus says that all the wonderful, ingenious and brilliant inventions of the mind have been contrived for the sake of pleasure of the flesh or for the sake of looking forward to it, and any accomplishment not leading to this end is worthless. | |
| From: report of Metrodorus (Lamp) (fragments/reports [c.291 BCE], Fr 6) by Plutarch - 74: Reply to Colotes §1125 | |
| A reaction: It is very hard to think of counterexamples! Would anyone bother to work out the theorems of number theory if they didn't enjoy doing it? Would any sensible person make great sacrifices if they didn't think that increased happiness would result? |
| 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? |