12 ideas
| 10528 | Definitions concern how we should speak, not how things are [Fine,K] |
| Full Idea: Our concern in giving a definition is not to say how things are by to say how we wish to speak | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.310) | |
| A reaction: This sounds like an acceptable piece of wisdom which arises out of analytical and linguistic philosophy. It puts a damper on the Socratic dream of using definition of reveal the nature of reality. |
| 10529 | If Hume's Principle can define numbers, we needn't worry about its truth [Fine,K] |
| Full Idea: Neo-Fregeans have thought that Hume's Principle, and the like, might be definitive of number and therefore not subject to the usual epistemological worries over its truth. | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.310) | |
| A reaction: This seems to be the underlying dream of logicism - that arithmetic is actually brought into existence by definitions, rather than by truths derived from elsewhere. But we must be able to count physical objects, as well as just counting numbers. |
| 10530 | Hume's Principle is either adequate for number but fails to define properly, or vice versa [Fine,K] |
| Full Idea: The fundamental difficulty facing the neo-Fregean is to either adopt the predicative reading of Hume's Principle, defining numbers, but inadequate, or the impredicative reading, which is adequate, but not really a definition. | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.312) | |
| A reaction: I'm not sure I understand this, but the general drift is the difficulty of building a system which has been brought into existence just by definition. |
| 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. |
| 10527 | An abstraction principle should not 'inflate', producing more abstractions than objects [Fine,K] |
| Full Idea: If an abstraction principle is going to be acceptable, then it should not 'inflate', i.e. it should not result in there being more abstracts than there are objects. By this mark Hume's Principle will be acceptable, but Frege's Law V will not. | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.307) | |
| A reaction: I take this to be motivated by my own intuition that abstract concepts had better be rooted in the world, or they are not worth the paper they are written on. The underlying idea this sort of abstraction is that it is 'shared' between objects. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |