Combining Philosophers

All the ideas for Stephen P. Stich, Proclus and Oscar Wilde

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7 ideas

3. Truth / E. Pragmatic Truth / 1. Pragmatic Truth
Radical pragmatists abandon the notion of truth [Stich, by Lowe]
     Full Idea: Some radical pragmatists, such as Stich, are ready to abandon the notion of truth.
     From: report of Stephen P. Stich (The Fragmentation of Reason [1990]) by E.J. Lowe - Introduction to the Philosophy of Mind Ch.3 n18
     A reaction: Such a proposal strikes me as silly (unless the vacuum left by truth can be filled by something better than just the test of whether 'it works'). It currently strikes me that pragmatism has a sane wing (led by Peirce), and a mad wing.
14. Science / D. Explanation / 2. Types of Explanation / g. Causal explanations
Geometrical proofs do not show causes, as when we prove a triangle contains two right angles [Proclus]
     Full Idea: Geometry does not ask 'why?' ..When from the exterior angle equalling two opposite interior angles it is shown that the interior angles make two right angles, this is not a causal demonstration. With no exterior angle they still equal two right angles.
     From: Proclus (Commentary on Euclid's 'Elements' [c.452], p.161-2), quoted by Paolo Mancosu - Explanation in Mathematics §5
     A reaction: A very nice example. It is hard to imagine how one might demonstrate the cause of the angles making two right angles. If you walk, turn left x°, then turn left y°, then turn left z°, and x+y+z=180°, you end up going in the original direction.
18. Thought / A. Modes of Thought / 5. Rationality / a. Rationality
Stich accepts eliminativism (labelled 'pragmatism') about rationality and normativity [Stich, by Engel]
     Full Idea: Stich accepts a form of eliminativism (which he calls 'pragmatism') about rationality and normativity generally.
     From: report of Stephen P. Stich (The Fragmentation of Reason [1990]) by Pascal Engel - Truth §5.3
     A reaction: This seems to be the correct position for a Humean empiricist connectionist. Presumably he has some good reasons for eliminating rationality.
18. Thought / E. Abstraction / 1. Abstract Thought
The origin of geometry started in sensation, then moved to calculation, and then to reason [Proclus]
     Full Idea: It is unsurprising that geometry was discovered in the necessity of Nile land measurement, since everything in the world of generation goes from imperfection to perfection. They would naturally pass from sense-perception to calculation, and so to reason.
     From: Proclus (Commentary on Euclid's 'Elements' [c.452]), quoted by Charles Chihara - A Structural Account of Mathematics 9.12 n55
     A reaction: The last sentence is the core of my view on abstraction, that it proceeds by moving through levels of abstraction, approaching more and more general truths.
21. Aesthetics / C. Artistic Issues / 6. Value of Art
All art is quite useless [Wilde]
     Full Idea: All art is quite useless.
     From: Oscar Wilde (Preface to 'Dorian Gray' [1891])
     A reaction: Echoes Kant's thought that art is 'purposive without purpose'. Although I find Wilde's claims that morality has nothing to do with art to be naïve, I find this remark sympathetic. Art may play with moral feelings, but is unlikely to affect actions.
21. Aesthetics / C. Artistic Issues / 7. Art and Morality
Books are only well or badly written, not moral or immoral [Wilde]
     Full Idea: There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
     From: Oscar Wilde (Preface to 'Dorian Gray' [1891])
     A reaction: This is simply false. Novels that are viciously (or subtly) racist, sexist, homophobic, or egotistical can obviously be immoral. I could write a nasty story about Oscar Wilde. It might, though, be very well written. If life is moral, so are novels.
Having ethical sympathies is a bad mannerism of style in an artist [Wilde]
     Full Idea: No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.
     From: Oscar Wilde (Preface to 'Dorian Gray' [1891])
     A reaction: This has a Nietzschean suggestion that the artist is 'beyond good and evil', and operates on some higher level of values, which in Wilde's case seem to be purely aesthetic. You can't justify a callous murder by executing it beautifully.