19 ideas
| 11103 | We aren't stuck with our native conceptual scheme; we can gradually change it [Quine] |
| Full Idea: We must not leap to the fatalistic conclusion that we are stuck with the conceptual scheme that we grew up in. We can change it bit by bit, plank by plank. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 5) | |
| A reaction: This is an interesting commitment to Strawson's 'revisionary' metaphysics, rather than its duller cousin 'descriptive' metaphysics. Good for Quine. Remember, though, Davidson's 'On the Very Idea of Conceptual Scheme'. |
| 11092 | A river is a process, with stages; if we consider it as one thing, we are considering a process [Quine] |
| Full Idea: A river is a process through time, and the river stages are its momentary parts. Identification of the river bathed in once with the river bathed in again is just what determines our subject matter to be a river process as opposed to a river stage. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 1) | |
| A reaction: So if we take a thing which has stages, but instead of talking about the stages we talk about a single thing that endures through them, then we are talking about a process. Sounds very good to me. |
| 11093 | We don't say 'red' is abstract, unlike a river, just because it has discontinuous shape [Quine] |
| Full Idea: 'Red' is surely not going to be opposed to 'Cayster' [name of a river], as abstract to concrete, merely because of discontinuity in geometrical shape? | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 2) | |
| A reaction: I've been slow to grasp the truth of this. However, Quine assumes that 'red' is concrete because 'Cayster' is, but it is perfectly arguable that 'Cayster' is an abstraction, despite all that water. |
| 11101 | General terms don't commit us ontologically, but singular terms with substitution do [Quine] |
| Full Idea: The use of general terms does not commit us to admitting a corresponding abstract entity into our ontology, but an abstract singular term, including the law of putting equals for equals, flatly commits us to an abstract entity named by the term. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 4) | |
| A reaction: Does this mean that in 'for the sake of the children', I have to believe in 'sakes' if I can find a synonym which will substitute for it? |
| 11096 | Discourse generally departmentalizes itself to some degree [Quine] |
| Full Idea: Discourse generally departmentalizes itself to some degree. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 2) | |
| A reaction: I pick this out because I think it is important. There is a continually shifting domain in any conversation ('what we are talking about'), and speech cannot be understand if the shifting domain or department has not been grasped. |
| 11099 | Understanding 'is square' is knowing when to apply it, not knowing some object [Quine] |
| Full Idea: No more need be demanded of 'is square' than that our listener learn when to expect us to apply it to an object and when not; there is no need for the phrase itself to be the name in turn of a separate object of any kind. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 4) |
| 11094 | 'Red' is a single concrete object in space-time; 'red' and 'drop' are parts of a red drop [Quine] |
| Full Idea: Why not view 'red' as naming a single concrete object extended in space and time? ..To say a drop is red is to say that the one object, the drop, is a spatio-temporal part of the other, red, as a waterfall is part of a river. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 2) |
| 11097 | Red is the largest red thing in the universe [Quine] |
| Full Idea: Red is the largest red thing in the universe - the scattered total thing whose parts are all the red things. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 3) |
| 17595 | To unite a sequence of ostensions to make one object, a prior concept of identity is needed [Quine] |
| Full Idea: The concept of identity is central in specifying spatio-temporally broad objects by ostension. Without identity, n acts of ostension merely specify up to n objects. ..But when we affirm identity of object between ostensions, they refer to the same object. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 1) | |
| A reaction: Quine says that there is an induction involved. On the whole, Quine seems to give a better account of identity than Geach or Wiggins can offer. |
| 11095 | We should just identify any items which are indiscernible within a given discourse [Quine] |
| Full Idea: We might propound the maxim of the 'identification of indiscernibles': Objects indistinguishable from one another within the terms of a given discourse should be construed as identical for that discourse. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 2) | |
| A reaction: This increasingly strikes me as the correct way to discuss such things. Identity is largely contextual, and two things can be viewed as type-identical for practical purposes (e.g. teaspoons), but distinguished if it is necessary. |
| 19440 | How do you know you have conceived a thing deeply enough to assess its possibility? [Vaidya] |
| Full Idea: The main issue with learning possibility from conceivability concerns how we can be confident that we have conceived things to the relevant level of depth required for the scenario to actually be a presentation or manifestation of a genuine possibility. | |
| From: Anand Vaidya (The Epistemology of Modality [2015], 1.2.2) | |
| A reaction: [He cites Van Inwagen 1998 for this idea] The point is that ignorant imagination can conceive of all sorts of absurd things which are seen to be impossible when enough information is available. We can hardly demand a criterion for this. |
| 11104 | Concepts are language [Quine] |
| Full Idea: Concepts are language. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 5) | |
| A reaction: Hm. This seems to mean that animals and pre-linguistic children have no concepts. I just don't believe that. |
| 11102 | Apply '-ness' or 'class of' to abstract general terms, to get second-level abstract singular terms [Quine] |
| Full Idea: Applying the operator '-ness' or 'class of' to abstract general terms, we get second-level abstract singular terms. | |
| From: Willard Quine (Identity, Ostension, and Hypostasis [1950], 5) | |
| A reaction: This is the derivation of abstract concepts by naming classes, rather than by deriving equivalence classes. Any theory which doesn't allow multi-level abstraction is self-evidently hopeless. Quine says Frege and Russell get numbers this way. |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| Full Idea: Wimsatt and Beardsley claimed that either the intention succeeded, so one does not need to look outside the work for its meaning, or the intention failed, so external evidence does not help. | |
| From: report of W Wimsatt/W Beardsley (The Intentional Fallacy [1946]) by Stephen Davies - The Philosophy of Art (2nd ed) 5.3 | |
| A reaction: Actually, the external evidence may tell you much more clearly and accurately what the intention was than the work itself does. The best example may be the title of the work, which is presumably outside the work. |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| Full Idea: The design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: This famous proposal may have been misunderstood. Note that it is a comment about judging the work, not about understanding it. The idea allows for a work being much more successful than the author's humble intentions (e.g. Pepys). |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| Full Idea: Poetry differs from practical messages, which are successful if and only if we correctly infer the intention. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: I am not convinced by this claim. It is plausible that a work does much more than it intends (Astaire said he danced "to make a buck"), but it is rather odd to rate very highly a work of which you have missed the point. |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| Full Idea: We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: Wrong. If in Browning's "My Last Duchess" (say), we only inferred the mind of the speaker (and his Duchess), and took no interest in Browning's view of things, we would miss the point. We might end up respecting the Duke, which would be daft. |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| Full Idea: The intentional fallacy is a romantic one. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §II) | |
| A reaction: Wrong. Even with those most famous of anonymous artists, the architects and carvers of medieval cathedrals, without some discernment of the purpose you won't get it. The Taj Mahal is a love letter, not a potential ice cream parlour. |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |
| Full Idea: The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §IV) | |
| A reaction: I am very keen to penetrate the author's intentions, but I have always be doubtful about the use of biography as a means to achieve this. Most of the effort to infer intentions must come from a study of the work itself, not introductions, letters etc. |