8 ideas
| 21513 | We can no more expect a precise definition of coherence than we can of the moral ideal [Ewing] |
| Full Idea: I think it is wrong to tie down the advocates of the coherence theory to a precise definition. ...It would be altogether unreasonable to demand that the moral ideal should be exhaustively defined, and the same may be true of the ideal of thought. | |
| From: A.C. Ewing (Idealism: a critical survey [1934], p.231), quoted by Erik J. Olsson - Against Coherence 7.6 | |
| A reaction: I strongly agree. It is not a council of despair. I think the criteria of coherence can be articulated quite well (e.g by Thagard), and the virtues of enquiry can also be quite well specified (e.g. by Zagzebski). Very dissimilar evidence must cohere. |
| 21497 | If undetailed, 'coherence' is just a vague words that covers all possible arguments [Ewing] |
| Full Idea: Without a detailed account, coherence is reduced to the mere muttering of the word 'coherence', which can be interpreted so as to cover all arguments, but only by making its meaning so wide as to rob it of almost all significance. | |
| From: A.C. Ewing (Idealism: a critical survey [1934], p.246), quoted by Erik J. Olsson - Against Coherence 2.2 | |
| A reaction: I'm a fan of coherence, but it is a placeholder, involving no intrinsic or detailed theory. I just think it points to the reality of how we make judgements, especially practical ones. We can categorise the inputs, and explain the required virtues. |
| 9145 | We form the image of a cardinal number by a double abstraction, from the elements and from their order [Cantor] |
| Full Idea: We call 'cardinal number' the general concept which, by means of our active faculty of thought, arises when we make abstraction from an aggregate of its various elements, and of their order. From this double abstraction the number is an image in our mind. | |
| From: George Cantor (Beitrage [1915], §1), quoted by Kit Fine - Cantorian Abstraction: Recon. and Defence Intro | |
| A reaction: [compressed] This is the great Cantor, creator of set theory, endorsing the traditional abstractionism which Frege and his followers so despise. Fine offers a defence of it. The Frege view is platonist, because it refuses to connect numbers to the world. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |