17 ideas
| 18696 | The vagueness of truthmaker claims makes it easier to run anti-realist arguments [Button] |
| Full Idea: The sheer lack of structure demanded by truthmaker theorists means that it is easier to run model-theoretic arguments against them than against correspondence theorists. | |
| From: Tim Button (The Limits of Reason [2013], 02.3) | |
| A reaction: Truthmaking is a vague relation, where correspondence is fairly specific. Model arguments say you can keep the sentences steady, but shuffle around what they refer to. |
| 18701 | The coherence theory says truth is coherence of thoughts, and not about objects [Button] |
| Full Idea: According to the coherence theory of truth, for our thoughts to be true is not for them to be about objects, but only for them to cohere with one another. This is rather terrifying. | |
| From: Tim Button (The Limits of Reason [2013], 14.2) | |
| A reaction: Davidson espoused this view in 1983, but then gave it up. It strikes me as either a daft view of truth, or a denial of truth. The coherence theory of justification, on the other hand, is correct. |
| 18694 | Permutation Theorem: any theory with a decent model has lots of models [Button] |
| Full Idea: The Permutation Theorem says that any theory with a non-trivial model has many distinct isomorphic models with the same domain. | |
| From: Tim Button (The Limits of Reason [2013], 02.1) | |
| A reaction: This may be the most significant claim of model theory, since Putnam has erected an argument for anti-realism on it. See the ideas of Tim Button. |
| 18692 | Realists believe in independent objects, correspondence, and fallibility of all theories [Button] |
| Full Idea: External realists have three principles: Independence - the world is objects that are independent of mind, language and theory; Correspondence - truth involves some correspondence of thoughts and things; Cartesian - an ideal theory might be false. | |
| From: Tim Button (The Limits of Reason [2013], 01.1-3) | |
| A reaction: [compressed; he cites Descartes's Demon for the third] Button is setting these up as targets. I subscribe to all three, in some form or other. Of course, as a theory approaches the success implying it is 'ideal', it becomes highly likely to be accurate. |
| 18693 | Indeterminacy arguments say if a theory can be made true, it has multiple versions [Button] |
| Full Idea: Indeterminacy arguments aim to show that if there is any way to make a theory true, then there are many ways to do so. | |
| From: Tim Button (The Limits of Reason [2013], 02.1) | |
| A reaction: Button says the simplest indeterminacy argument is Putnam's Permutation Argument - that you can shuffle the objects in a formal model, without affecting truth. But do we belief that metaphysics can be settled in this sort of way? |
| 18695 | An ideal theory can't be wholly false, because its consistency implies a true model [Button] |
| Full Idea: If realists think an ideal theory could be false, then the theory is consistent, and hence complete, and hence finitely modellable, and hence it is guaranteed that there is some way to make it true. | |
| From: Tim Button (The Limits of Reason [2013], 02.2) | |
| A reaction: [compressed] This challenges the realists' supposed claim that even the most ideal of theories could possibly be false. Presumably for a theory to be 'ideal' is not all-or-nothing. Are we capable of creating a fully ideal theory? [Löwenheim-Skolem] |
| 18700 | Cartesian scepticism doubts what is true; Kantian scepticism doubts that it is sayable [Button] |
| Full Idea: Cartesian scepticism agonises over whether our beliefs are true or false, whereas Kantian scepticism agonises over how it is even possible for beliefs to be true or false. | |
| From: Tim Button (The Limits of Reason [2013], 07.2) | |
| A reaction: Kant's question is, roughly, 'how can our thoughts succeed in being about the world?' Kantian scepticism is the more drastic, and looks vulnerable to a turning of the tables, but asking how Kantian worries can even be expressed. |
| 18698 | Predictions give the 'content' of theories, which can then be 'equivalent' or 'adequate' [Button] |
| Full Idea: The empirical 'content' of a theory is all its observable predictions. Two theories with the same predictions are empirically 'equivalent'. A theory which gets it all right at this level is empirically 'adequate'. | |
| From: Tim Button (The Limits of Reason [2013], 05.1) |
| 18697 | A sentence's truth conditions are all the situations where it would be true [Button] |
| Full Idea: A sentence's truth conditions comprise an exhaustive list of the situations in which that sentence would be true. | |
| From: Tim Button (The Limits of Reason [2013], 03.4) | |
| A reaction: So to know its meaning you must know those conditions? Compare 'my cat is licking my finger' with 'dramatic events are happening in Ethiopia'. It should take an awful long time to grasp the second sentence. |
| 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. |
| 3029 | Stilpo said if Athena is a daughter of Zeus, then a statue is only the child of a sculptor, and so is not a god [Stilpo, by Diog. Laertius] |
| Full Idea: Stilpo asked a man whether Athena is the daughter of Zeus, and when he said yes, said,"But this statue of Athena by Phidias is the child of Phidias, so it is not a god." | |
| From: report of Stilpo (fragments/reports [c.330 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.10.5 |