17 ideas
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 13430 | Infinity: there is an infinity of distinguishable individuals [Ramsey] |
| Full Idea: The Axiom of Infinity means that there are an infinity of distinguishable individuals, which is an empirical proposition. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §5) | |
| A reaction: The Axiom sounds absurd, as a part of a logical system, but Ramsey ends up defending it. Logical tautologies, which seem to be obviously true, are rendered absurd if they don't refer to any objects, and some of them refer to infinities of objects. |
| 13428 | Reducibility: to every non-elementary function there is an equivalent elementary function [Ramsey] |
| Full Idea: The Axiom of Reducibility asserted that to every non-elementary function there is an equivalent elementary function [note: two functions are equivalent when the same arguments render them both true or both false]. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §2) | |
| A reaction: Ramsey in the business of showing that this axiom from Russell and Whitehead is not needed. He says that the axiom seems to be needed for induction and for Dedekind cuts. Since the cuts rest on it, and it is weak, Ramsey says it must go. |
| 13427 | Either 'a = b' vacuously names the same thing, or absurdly names different things [Ramsey] |
| Full Idea: In 'a = b' either 'a' and 'b' are names of the same thing, in which case the proposition says nothing, or of different things, in which case it is absurd. In neither case is it an assertion of a fact; it only asserts when a or b are descriptions. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §1) | |
| A reaction: This is essentially Frege's problem with Hesperus and Phosphorus. How can identities be informative? So 2+2=4 is extensionally vacuous, but informative because they are different descriptions. |
| 13334 | Contradictions are either purely logical or mathematical, or they involved thought and language [Ramsey] |
| Full Idea: Group A consists of contradictions which would occur in a logical or mathematical system, involving terms such as class or number. Group B contradictions are not purely logical, and contain some reference to thought, language or symbolism. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], p.171), quoted by Graham Priest - The Structure of Paradoxes of Self-Reference 1 | |
| A reaction: This has become the orthodox division of all paradoxes, but the division is challenged by Priest (Idea 13373). He suggests that we now realise (post-Tarski?) that language is more involved in logic and mathematics than we thought. |
| 13426 | Formalists neglect content, but the logicists have focused on generalizations, and neglected form [Ramsey] |
| Full Idea: The formalists neglected the content altogether and made mathematics meaningless, but the logicians neglected the form and made mathematics consist of any true generalisations; only by taking account of both sides can we obtain an adequate theory. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §1) | |
| A reaction: He says mathematics is 'tautological generalizations'. It is a criticism of modern structuralism that it overemphasises form, and fails to pay attention to the meaning of the concepts which stand at the 'nodes' of the structure. |
| 13425 | Formalism is hopeless, because it focuses on propositions and ignores concepts [Ramsey] |
| Full Idea: The hopelessly inadequate formalist theory is, to some extent, the result of considering only the propositions of mathematics and neglecting the analysis of its concepts. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §1) | |
| A reaction: You'll have to read Ramsey to see how this thought pans out, but it at least gives a pointer to how to go about addressing the question. |
| 22328 | I just confront the evidence, and let it act on me [Ramsey] |
| Full Idea: I can but put the evidence before me, and let it act on my mind. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], p.202), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 70 'Deg' | |
| A reaction: Potter calls this observation 'downbeat', but I am an enthusiastic fan. It is roughly my view of both concept formation and of knowledge. You soak up the world, and respond appropriately. The trick is in the selection of evidence to confront. |
| 22325 | A belief is knowledge if it is true, certain and obtained by a reliable process [Ramsey] |
| Full Idea: I have always said that a belief was knowledge if it was 1) true, ii) certain, iii) obtained by a reliable process. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], p.258), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 66 'Rel' | |
| A reaction: Not sure why it has to be 'certain' as well as 'true'. It seems that 'true' is objective, and 'certain' subjective. I think I know lots of things of which I am not fully certain. Reliabilism long preceded Alvin Goldman. |
| 3102 | Why don't we experience or remember going to sleep at night? [Magee] |
| Full Idea: As a child it was incomprehensible to me that I did not experience going to sleep, and never remembered it. When my sister said 'Nobody remembers that', I just thought 'How does she know?' | |
| From: Bryan Magee (Confessions of a Philosopher [1997], Ch.I) | |
| A reaction: This is actually evidence for something - that we do not have some sort of personal identity which is separate from consciousness, so that "I am conscious" would literally mean that an item has a property, which it can lose. |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |