24 ideas
| 16405 | To understand a name (unlike a description) picking the thing out is sufficient? [Stalnaker] |
| Full Idea: If we ask 'what must you know to understand a name?', the naïve answer is that one must know who or what it names - nothing more. (But no one would give this answer about what is needed to understand a definite description). | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 4) | |
| A reaction: Presumably this is naive because names can be full of meaning ('the Empress'), or description and reference together ('there's the man who robbed me') and so on. It's a nice starting point though. A number can serve as a name. |
| 16407 | Possible worlds allow separating all the properties, without hitting a bare particular [Stalnaker] |
| Full Idea: The possible worlds framework suggests a way to express the idea that a particular is conceptually separable from its properties without relying on the rejected picture of a bare particular. | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 5) | |
| A reaction: As I read him, Stalnaker's proposal just comes down to replacing each property in turn with a different one. 'Strip away' red by making it green. It being green in w1 doesn't throw extra light. Can it be a bare particular in w37? |
| 16397 | If it might be true, it might be true in particular ways, and possible worlds describe such ways [Stalnaker] |
| Full Idea: A clarifying assumption is that if something might be true, then it might be true in some particular way. …Possible worlds begin from this, and the assumption that what might be true can be described as how a possibility might be realised. | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 2) | |
| A reaction: This is a leading practitioner giving his best shot at explaining the rationale of the possible worlds approach, addressed to many sceptics. Most sceptics, I think, don't understand the qualifications the practitioners apply to their game. |
| 16399 | Possible worlds are ontologically neutral, but a commitment to possibilities remains [Stalnaker] |
| Full Idea: I argue for the metaphysical neutrality of the possible worlds framework, but I do not suggest that its use is free of ontological commitment to possibilities (ways things might be, counterfactual situations, possible states of worlds). | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 2) | |
| A reaction: Glad to hear this, as I have always been puzzled at possible aspirations to eliminate modality (such as possibility) by introducing 'possible' worlds. Commitment to possibilities I take to be basic and unavoidable. |
| 16398 | Possible worlds allow discussion of modality without controversial modal auxiliaries [Stalnaker] |
| Full Idea: The main benefit of the possible worlds move is to permit one to paraphrase modal claims in an extensional language that has quantifiers, but no modal auxiliaries, so the semantic stucture of modal discourse can be discussed without the controversies. | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 2) | |
| A reaction: The strategy introduces the controversy of possible worlds instead, but since they just boil down to collections of objects with properties, classical logic can reign. Possible worlds are one strategy alongside many others. |
| 16396 | Kripke's possible worlds are methodological, not metaphysical [Stalnaker] |
| Full Idea: The possible worlds framework that Kripke introduces should be understood not as a metaphysical theory, but as a methodological framework. | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], Intro) | |
| A reaction: That's certainly how I see possible worlds. I lose no sleep over whether they exist. I just take a set of possible worlds to be like cells in a spreadsheet, or records in a database. |
| 16408 | Rigid designation seems to presuppose that differing worlds contain the same individuals [Stalnaker] |
| Full Idea: A rigid designator is a designator that denotes the same individual in all possible worlds; doesn't this presuppose that the same individuals can be found in differing possible worlds? | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 5) | |
| A reaction: This is part of Stalnaker's claim that Kripke already has a metaphysics in place when he starts on his semantics and his theory of reference. Kripke needs a global domain, not a variable domain. Possibilities suggest variable domains to me. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 16406 | If you don't know what you say you can't mean it; what people say usually fits what they mean [Stalnaker] |
| Full Idea: If you don't know what you are saying then you don't mean what you say, and also speakers generally mean what they say (in that what they say coincides with what they mean). | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 4) | |
| A reaction: Both these thoughts seem completely acceptable and correct, but rely on something called 'meaning' that is distinct from saying. I would express this in terms of propositions, which I take to be mental events. |
| 16404 | In the use of a name, many individuals are causally involved, but they aren't all the referent [Stalnaker] |
| Full Idea: The causal theory of reference is criticised for vagueness. Causal connections are ubiquitous, and there are obviously many individuals that are causally implicated in the speaker's use of a name, but they aren't all plausible candidates for the referent. | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 4) | |
| A reaction: This seems to be a very good objection. Among all the causal links back to some baptised object, we have to pick out the referential link, which needs a criterion. |
| 16403 | 'Descriptive' semantics gives a system for a language; 'foundational' semantics give underlying facts [Stalnaker] |
| Full Idea: 'Descriptive' semantics gives a semantics for the language without saying how practice explains why the semantics is right; …'foundational' semantics concerns the facts that give expressions their semantic values. | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], §1) | |
| A reaction: [compressed] Sounds parallel to the syntax/semantics distinction, or proof-theoretical and semantic validity. Or the sense/reference distinction! Or object language/metalanguage. Shall I go on? |
| 16401 | To understand an utterance, you must understand what the world would be like if it is true [Stalnaker] |
| Full Idea: To understand what is said in an utterance of 'The first dog born at sea was a basset hound', one needs to know what the world would have been like in order for what was said in that utterance to be true. | |
| From: Robert C. Stalnaker (Reference and Necessity [1997], 3) | |
| A reaction: Put like that, the idea is undeniable. Understanding involves truth conditions. Does mean involve the understanding of the meaning. What do you understand when you understand a sentence? Just facts about dogs? Or something in the sentence? |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 1748 | Archelaus was the first person to say that the universe is boundless [Archelaus, by Diog. Laertius] |
| Full Idea: Archelaus was the first person to say that the universe is boundless. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.Ar.3 |
| 5989 | Archelaus said life began in a primeval slime [Archelaus, by Schofield] |
| Full Idea: Archelaus wrote that life on Earth began in a primeval slime. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Malcolm Schofield - Archelaus | |
| A reaction: This sounds like a fairly clearcut assertion of the production of life by evolution. Darwin's contribution was to propose the mechanism for achieving it. We should honour the name of Archelaus for this idea. |