12 ideas
| 5998 | From the necessity of the past we can infer the impossibility of what never happens [Diod.Cronus, by White,MJ] |
| Full Idea: Diodorus' Master Argument inferred that since what is past (i.e. true in the past) is necessary, and the impossible cannot follow from the possible, that therefore if something neither is nor ever will be the case, then it is impossible. | |
| From: report of Diodorus Cronus (fragments/reports [c.300 BCE]) by Michael J. White - Diodorus Cronus | |
| A reaction: The argument is, apparently, no longer fully clear, but it seems to imply determinism, or at least a rejection of the idea that free will and determinism are compatible. (Epictetus 2.19) |
| 20832 | The Master Argument seems to prove that only what will happen is possible [Diod.Cronus, by Epictetus] |
| Full Idea: The Master Argument: these conflict 1) what is past and true is necessary, 2) the impossible does not follow from the possible, 3) something possible neither is nor will be true. Hence only that which is or will be true is possible. | |
| From: report of Diodorus Cronus (fragments/reports [c.300 BCE]) by Epictetus - The Discourses 2.19.1 | |
| A reaction: [Epictetus goes on to discuss views about which of the three should be given up] It is possible there will be a sea fight tomorrow; tomorrow comes, and no sea fight; so there was necessarily no sea fight; so the impossible followed from the possible. |
| 14304 | Conditionals are true when the antecedent is true, and the consequent has to be true [Diod.Cronus] |
| Full Idea: The connected (proposition) is true when it begins with true and neither could nor can end with false. | |
| From: Diodorus Cronus (fragments/reports [c.300 BCE]), quoted by Stephen Mumford - Dispositions 03.4 | |
| A reaction: [Mumford got the quote from Bochenski] This differs from the truth-functional account because it says nothing about when the antecedent is false, which fits in also with the 'supposition' view, where A is presumed. This idea adds necessity. |
| 2614 | Modern phenomenalism holds that objects are logical constructions out of sense-data [Ayer] |
| Full Idea: Nowadays phenomenalism is held to be a theory of perception which says that physical objects are logical constructions out of sense-data. | |
| From: A.J. Ayer (Phenomenalism [1947], §1) |
| 2615 | The concept of sense-data allows us to discuss appearances without worrying about reality [Ayer] |
| Full Idea: The introduction of the term 'sense-datum' is a means of referring to appearances without prejudging the question of what it is, if anything, that they are appearances of. | |
| From: A.J. Ayer (Phenomenalism [1947], §1) |
| 6024 | Thought is unambiguous, and you should stick to what the speaker thinks they are saying [Diod.Cronus, by Gellius] |
| Full Idea: No one says or thinks anything ambiguous, and nothing should be held to be being said beyond what the speaker thinks he is saying. | |
| From: report of Diodorus Cronus (fragments/reports [c.300 BCE]) by Aulus Gellius - Noctes Atticae 11.12.2 | |
| A reaction: A key argument in favour of propositions, implied in this remark, is that propositions are never ambiguous, though the sentences expressing them may be |
| 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. |