8 ideas
| 13768 | Validity can preserve certainty in mathematics, but conditionals about contingents are another matter [Edgington] |
| Full Idea: If your interest in logic is confined to applications to mathematics or other a priori matters, it is fine for validity to preserve certainty, ..but if you use conditionals when arguing about contingent matters, then great caution will be required. | |
| From: Dorothy Edgington (Conditionals [2001], 17.2.1) |
| 13770 | There are many different conditional mental states, and different conditional speech acts [Edgington] |
| Full Idea: As well as conditional beliefs, there are conditional desires, hopes, fears etc. As well as conditional statements, there are conditional commands, questions, offers, promises, bets etc. | |
| From: Dorothy Edgington (Conditionals [2001], 17.3.4) |
| 13764 | Are conditionals truth-functional - do the truth values of A and B determine the truth value of 'If A, B'? [Edgington] |
| Full Idea: Are conditionals truth-functional - do the truth values of A and B determine the truth value of 'If A, B'? Are they non-truth-functional, like 'because' or 'before'? Do the values of A and B, in some cases, leave open the value of 'If A,B'? | |
| From: Dorothy Edgington (Conditionals [2001], 17.1) | |
| A reaction: I would say they are not truth-functional, because the 'if' asserts some further dependency relation that goes beyond the truth or falsity of A and B. Logical ifs, causal ifs, psychological ifs... The material conditional ⊃ is truth-functional. |
| 13765 | 'If A,B' must entail ¬(A & ¬B); otherwise we could have A true, B false, and If A,B true, invalidating modus ponens [Edgington] |
| Full Idea: If it were possible to have A true, B false, and If A,B true, it would be unsafe to infer B from A and If A,B: modus ponens would thus be invalid. Hence 'If A,B' must entail ¬(A & ¬B). | |
| From: Dorothy Edgington (Conditionals [2001], 17.1) | |
| A reaction: This is a firm defence of part of the truth-functional view of conditionals, and seems unassailable. The other parts of the truth table are open to question, though, if A is false, or they are both true. |
| 18545 | The disinterested attitude of the judge is the hallmark of a judgement of beauty [Shaftesbury, by Scruton] |
| Full Idea: Shaftesbury explained the peculiar features of the judgement of beauty in terms of the disinterested attitude of the judge. | |
| From: report of 3rd Earl of Shaftesbury (Characteristics [1711]) by Roger Scruton - Beauty: a very short introduction 1 | |
| A reaction: Good. I take our vocabulary to mark a distinction between expressions of subjective preference, and expressions of what aspire to be objective facts. 'I love this' versus 'this is good or beautiful'. |
| 7276 | 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. |
| 7274 | 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. |
| 7275 | 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. |