14 ideas
| 15527 | Defining terms either enables elimination, or shows that they don't require elimination [Lewis] |
| Full Idea: To define theoretical terms might be to show how to do without them, but it is better to say that it shows there is no good reason to want to do without them. | |
| From: David Lewis (How to Define Theoretical Terms [1970], Intro) |
| 15530 | A logically determinate name names the same thing in every possible world [Lewis] |
| Full Idea: A logically determinate name is one which names the same thing in every possible world. | |
| From: David Lewis (How to Define Theoretical Terms [1970], III) | |
| A reaction: This appears to be rigid designation, before Kripke introduced the new word. |
| 15531 | The Ramsey sentence of a theory says that it has at least one realisation [Lewis] |
| Full Idea: The Ramsey sentence of a theory says that it has at least one realisation. | |
| From: David Lewis (How to Define Theoretical Terms [1970], V) |
| 15528 | A Ramsey sentence just asserts that a theory can be realised, without saying by what [Lewis] |
| Full Idea: If we specify a theory with all of its terms, and then replace all of those terms with variables, we can then say that some n-tuples of entities can satisfy this formula. This Ramsey sentence then says the theory is realised, without specifying by what. | |
| From: David Lewis (How to Define Theoretical Terms [1970], II) | |
| A reaction: [I have compressed Lewis, and cut out the symbolism] |
| 15526 | There is a method for defining new scientific terms just using the terms we already understand [Lewis] |
| Full Idea: I contend that there is a general method for defining newly introduced terms in a scientific theory, one which uses only the old terms we understood beforehand. | |
| From: David Lewis (How to Define Theoretical Terms [1970], Intro) | |
| A reaction: Lewis is game is to provide bridge laws for a reductive account of nature, without having to introduce something entirely new to achieve it. The idea of bridge laws in scientific theory is less in favour these days. |
| 15529 | It is better to have one realisation of a theory than many - but it may not always be possible [Lewis] |
| Full Idea: A uniquely realised theory is, other things being equal, certainly more satisfactory than a multiply realised theory. We should insist on unique realisation as a standard of correctness unless it is a standard too high to be met. | |
| From: David Lewis (How to Define Theoretical Terms [1970], III) | |
| A reaction: The point is that rewriting a theory as Ramsey sentences just says there is at least one realisation, and so it doesn't meet the highest standards for scientific theories. The influence of set-theoretic model theory is obvious in this approach. |
| 17722 | The concept 'red' is tied to what actually individuates red things [Peacocke] |
| Full Idea: The possession conditions for the concept 'red' of the colour red are tied to those very conditions which individuate the colour red. | |
| From: Christopher Peacocke (Explaining the A Priori [2000], p.267), quoted by Carrie Jenkins - Grounding Concepts 2.5 | |
| A reaction: Jenkins reports that he therefore argues that we can learn something about the word 'red' from thinking about the concept 'red', which is his new theory of the a priori. I find 'possession conditions' and 'individuation' to be very woolly concepts. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |