10 ideas
| 16186 | The Barcan Formulas express how to combine modal operators with classical quantifiers [Simchen] |
| Full Idea: The Barcan Formula and its converse gives expression to the most straightforward way of combining modal operators with classical quantification. | |
| From: Ori Simchen (The Barcan Formula and Metaphysics [2013], §1) |
| 16187 | The Barcan Formulas are orthodox, but clash with the attractive Actualist view [Simchen] |
| Full Idea: The Barcan Formulas are a threat to 'actualism' in modal metaphysics, which seems regrettable since the Formulas are validated by standard modal logics, but clash with the plausible and attractive actualist view (that there are no merely possible things). | |
| From: Ori Simchen (The Barcan Formula and Metaphysics [2013], §1) | |
| A reaction: He notes that the Barcan Formulas 'appear to require quantification over possibilia'. So are you prepared to accept the 'possible elephant in your kitchen'? Conceptually yes, but actually no, I would have thought. So possibilia are conceptual. |
| 16190 | BF implies that if W possibly had a child, then something is possibly W's child [Simchen] |
| Full Idea: In accordance with the Barcan Formula we assume that if it is possible that Wittgenstein should have had a child, then something or other is possibly Wittgentein's child. | |
| From: Ori Simchen (The Barcan Formula and Metaphysics [2013], §5) | |
| A reaction: Put like this it sounds unpersuasive. What is the something or other? Someone else's child? A dustbin? A bare particular? Wittgenstein's child? If it was the last one, how could it be Wittgenstein's child while only possibly being that thing? |
| 16188 | Serious Actualism says there are no facts at all about something which doesn't exist [Simchen] |
| Full Idea: Serious Actualism is the view that in possible circumstances in which something does not exist there are no facts about it of any kind, including its very non-existence | |
| From: Ori Simchen (The Barcan Formula and Metaphysics [2013], §1 n4) | |
| A reaction: He suggests that the Converse Barcan Formula implies this view. It sounds comparable to the view of Presentism about time, that no future or past truthmakers exist right now. If a new square table were to exist, it would have four corners. |
| 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) |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |