11 ideas
| 9406 | A class is natural when everybody can spot further members of it [Quinton] |
| Full Idea: To say that a class is natural is to say that when some of its members are shown to people they pick out others without hesitation and in agreement. | |
| From: Anthony Quinton (The Nature of Things [1973], 9 'Nat') | |
| A reaction: He concedes a number of problems with his view, but I admire his attempt to at least begin to distinguish the natural (real!) classes from the ersatz ones. A mention of causal powers would greatly improve his story. |
| 15730 | Extreme nominalists say all classification is arbitrary convention [Quinton] |
| Full Idea: Pure, extreme nominalism sees all classification as the product of arbitrary convention. | |
| From: Anthony Quinton (The Nature of Things [1973], 9 'Nat') | |
| A reaction: I'm not sure what the word 'arbitrary' is doing there. Nominalists are not daft, and if they can classify any way they like, they are not likely to choose an 'arbitrary' system. Pragmatism tells the right story here. |
| 15728 | The naturalness of a class depends as much on the observers as on the objects [Quinton] |
| Full Idea: The naturalness of a class depends as essentially on the nature of the observers who classify as it does on the nature of the objects that they classify. ...It depends on our perceptual apparatus, and on our relatively mutable needs and interests. | |
| From: Anthony Quinton (The Nature of Things [1973], 9 'Nat') | |
| A reaction: This seems to translate 'natural' as 'natural for us', which is not much use to scientists, who spend quite a lot of effort combating folk wisdom. Do desirable sports cars constitute a natural class? |
| 9407 | Properties imply natural classes which can be picked out by everybody [Quinton] |
| Full Idea: To say there are properties is to say there are natural classes, classes introduction to some of whose members enables people to pick out others without hesitation and in agreement. | |
| From: Anthony Quinton (The Nature of Things [1973], 9 'Nat') | |
| A reaction: Aristotle would like this approach, but it doesn't find many friends among modern logician/philosophers. We should go on to ask why people agree on these things. Causal powers will then come into it. |
| 15729 | Uninstantiated properties must be defined using the instantiated ones [Quinton] |
| Full Idea: Properties that have no concrete instances must be defined in terms of those that have. | |
| From: Anthony Quinton (The Nature of Things [1973], 9 'Nat') | |
| A reaction: I wonder what the dodo used to smell like? |
| 8520 | An individual is a union of a group of qualities and a position [Quinton, by Campbell,K] |
| Full Idea: Quinton proposes that an individual is a union of a group of qualities and a position. | |
| From: report of Anthony Quinton (The Nature of Things [1973], Pt I) by Keith Campbell - The Metaphysic of Abstract Particulars §5 | |
| A reaction: This seems the obvious defence of a bundle account of objects against the charge that indiscernibles would have to be identical. It introduces, however, 'positions' into the ontology, but maybe that price must be paid. Materialism needs space. |
| 23900 | Chance is compatible with necessity, and the two occur together [Weil] |
| Full Idea: Chance is not the contrary of necessity; it is not incompatible with necessity. On the contrary, it never appears except at the same time as necessity. | |
| From: Simone Weil (The Scientific Image [1941], p.175) | |
| A reaction: She illustrates it with the six terminating results of a die throw, and the innumerabe ways the throw can occur. This thought strikes me as relevant to discussions of free will. …But I'm not sure I fully understand it. |
| 7880 | If a blind persons suddenly sees a kestrel, that doesn't make visual and theoretical kestrels different [Papineau on Jackson] |
| Full Idea: An ornithological Mary might know everything theoretical about kestrels, but be blind from birth, then have her sight restored. She now knows "That bird eats mice", so visual kestrels must be ontologically distinct from theoretical ones. | |
| From: comment on Frank Jackson (Epiphenomenal Qualia [1982]) by David Papineau - Thinking about Consciousness 6.3 | |
| A reaction: A nice reductio, and I think this pinpoints best what is wrong with the knowledge argument. Knowledge, and the means of acquiring it, are two distinct things. When I see x, I don't acquire knowledge of x, AND knowledge of my seeing x. |
| 7378 | No one bothers to imagine what it would really be like to have ALL the physical information [Dennett on Jackson] |
| Full Idea: That Mary "has all the physical information" is not readily imaginable, so no one bothers. They just imagine she knows lots and lots - perhaps everything known today - but that is just a drop in the bucket. | |
| From: comment on Frank Jackson (Epiphenomenal Qualia [1982]) by Daniel C. Dennett - Consciousness Explained 12.5 | |
| A reaction: I certainly don't see how we can rule out a priori the possibility that someone who really had all the physical knowledge might be able to infer the phenomenal properties of colour. |
| 7377 | Mary learns when she sees colour, so her complete physical information had missed something [Jackson] |
| Full Idea: It seems obvious that Mary will learn something about the world when she is released from her black-and-white room; but then it is inescapable that her previous knowledge was incomplete; she had all the physical information, so there is more to have. | |
| From: Frank Jackson (Epiphenomenal Qualia [1982], §1) | |
| A reaction: This is Jackson's famous 'knowledge argument', which seems to me misconceived. Since I don't think phenomenal colours are properties of objects (Idea 5456), Mary learns more about herself, and about her means of acquiring knowledge. |
| 23899 | The secret of art is that beauty is a just blend of unity and its opposite [Weil] |
| Full Idea: A just blend of unity and that which opposes it is the condition of the beautiful, and it is the secret of art. | |
| From: Simone Weil (The Scientific Image [1941], p.169) | |
| A reaction: Rather sweeping, but the observation strikes me as fairly accurate. It seems to work for most novels, paintings and music, though more recent art may provide counterexamples. |