18 ideas
| 10993 | Ramsey's Test: believe the consequent if you believe the antecedent [Ramsey, by Read] |
| Full Idea: Ramsey's Test for conditionals is that a conditional should be believed if a belief in its antecedent would commit one to believing its consequent. | |
| From: report of Frank P. Ramsey (Law and Causality [1928]) by Stephen Read - Thinking About Logic Ch.3 | |
| A reaction: A rather pragmatic approach to conditionals |
| 14279 | Asking 'If p, will q?' when p is uncertain, then first add p hypothetically to your knowledge [Ramsey] |
| Full Idea: If two people are arguing 'If p, will q?' and are both in doubt as to p, they are adding p hypothetically to their stock of knowledge, and arguing on that basis about q; ...they are fixing their degrees of belief in q given p. | |
| From: Frank P. Ramsey (Law and Causality [1928], B 155 n) | |
| A reaction: This has become famous as the 'Ramsey Test'. Bennett emphasises that he is not saying that you should actually believe p - you are just trying it for size. The presupposition approach to conditionals seems attractive. Edgington likes 'degrees'. |
| 6894 | Mental terms can be replaced in a sentence by a variable and an existential quantifier [Ramsey] |
| Full Idea: Ramsey Sentences are his technique for eliminating theoretical terms in science (and can be applied to mental terms, or to social rights); a term in a sentence is replaced by a variable and an existential quantifier. | |
| From: Frank P. Ramsey (Law and Causality [1928]), quoted by Thomas Mautner - Penguin Dictionary of Philosophy p.469 | |
| A reaction: The technique is used by functionalists and results in a sort of eliminativism. The intrinsic nature of mental states is eliminated, because everything worth saying can be expressed in terms of functional/causal role. Sounds wrong to me. |
| 3238 | 'Dead person' isn't a contradiction, so 'person' is somewhat vague [Williams,B] |
| Full Idea: If we say (in opposition to a physical view of identity) that when Jones dies 'Jones ceases to exist' but 'Jones' body does not cease to exist', this shouldn't be pressed too hard, because it would make 'dead person' a contradiction. | |
| From: Bernard Williams (Are Persons Bodies? [1970], p.74) | |
| A reaction: A good point, which nicely challenges the distinction between a 'human' and a 'person', but the problem case is much more the one where Jones gets advanced Alzheimer's, rather than dies. A dead body ceases as a mechanism, as well as as a personality. |
| 3239 | You can only really love a person as a token, not as a type [Williams,B] |
| Full Idea: If you love a person as a type instead of as a token (i.e. a "person", instead of a physical body) you might prefer a run-down copy of them to no person at all, but at this point our idea of loving a person begins to crack. | |
| From: Bernard Williams (Are Persons Bodies? [1970], p.81) | |
| A reaction: Very persuasive. If you love a person you can cope with them getting old. If you own an original watercolour, you can accept that it fades, but you would replace a reproduction of it if that faded. But what, then, is it that you love? |
| 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. |
| 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. |
| 9418 | All knowledge needs systematizing, and the axioms would be the laws of nature [Ramsey] |
| Full Idea: Even if we knew everything, we should still want to systematize our knowledge as a deductive system, and the general axioms in that system would be the fundamental laws of nature. | |
| From: Frank P. Ramsey (Law and Causality [1928], §A) | |
| A reaction: This is the Mill-Ramsey-Lewis view. Cf. Idea 9420. |
| 9420 | Causal laws result from the simplest axioms of a complete deductive system [Ramsey] |
| Full Idea: Causal laws are consequences of those propositions which we should take as axioms if we knew everything and organized it as simply as possible in a deductive system. | |
| From: Frank P. Ramsey (Law and Causality [1928], §B) | |
| A reaction: Cf. Idea 9418. |