26 ideas
| 13941 | Are the truth-bearers sentences, utterances, ideas, beliefs, judgements, propositions or statements? [Cartwright,R] |
| Full Idea: What is it that is susceptible of truth or falsity? The answers suggested constitute a bewildering variety: sentences, utterances, ideas, beliefs, judgments, propositions, statements. | |
| From: Richard Cartwright (Propositions [1962], 01) | |
| A reaction: Carwright's answer is 'statements', which seem to be the same as propositions. |
| 13942 | Logicians take sentences to be truth-bearers for rigour, rather than for philosophical reasons [Cartwright,R] |
| Full Idea: The current fashion among logicians of taking sentences to be the bearers of truth and falsity indicates less an agreement on philosophical theory than a desire for rigor and smoothness in calculative practice. | |
| From: Richard Cartwright (Propositions [1962], 01) | |
| A reaction: A remark close to my heart. Propositions are rejected first because language offers hope of answers, then because they seem metaphysically odd, and finally because you can't pin them down rigorously. But the blighters won't lie down and die. |
| 13945 | A token isn't a unique occurrence, as the case of a word or a number shows [Cartwright,R] |
| Full Idea: We cannot take a token of a word to be an occurrence of it. Suppose there is exactly one occurrence of the word 'etherized' in the whole of English poetry? Exactly one 'token'? This sort of occurrence is like the occurrence of a number in a sequence. | |
| From: Richard Cartwright (Propositions [1962], Add 2) | |
| A reaction: This remark is in an addendum to his paper, criticising his own lax use of the idea of 'token' in the actual paper. The example nicely shows that the type/token distinction isn't neat and tidy - though I consider it very useful. |
| 13950 | People don't assert the meaning of the words they utter [Cartwright,R] |
| Full Idea: No one ever asserts the meaning of the words he utters. | |
| From: Richard Cartwright (Propositions [1962], 12) | |
| A reaction: Cartwright is using this point to drive a wedge between sentence meaning and the assertion made by the utterance. Hence he defends propositions. Presumably people utilise word-meanings, rather than asserting them. Meanings (not words) are tools. |
| 13948 | For any statement, there is no one meaning which any sentence asserting it must have [Cartwright,R] |
| Full Idea: It does have to be acknowledged, I think, that every statement whatever is such that there is no one meaning which any sentence used to assert it must have. | |
| From: Richard Cartwright (Propositions [1962], 11) | |
| A reaction: This feels to me like a Gricean move - that what we are really interested in is communicating one mental state to another mental state, and there are all sorts of tools that can do that one job. |
| 13944 | We can pull apart assertion from utterance, and the action, the event and the subject-matter for each [Cartwright,R] |
| Full Idea: We need to distinguish 1) what is asserted, 2) that assertion, 3) asserting something, 4) what is predicated, 5) what is uttered, 6) that utterance, 7) uttering something, 8) the utterance token, and 9) the meaning. | |
| From: Richard Cartwright (Propositions [1962], 05-06) | |
| A reaction: [summary of his overall analysis in the paper] It is amazingly hard to offer a critical assessment of this sort of analysis, but it gives you a foot in the door for thinking about the issues with increasing clarity. |
| 13947 | 'It's raining' makes a different assertion on different occasions, but its meaning remains the same [Cartwright,R] |
| Full Idea: A person who utters 'It's raining' one day does not normally make the same statement as one who utters it the next. But these variations are not accompanied by corresponding changes of meaning. The words 'It's raining' retain the same meaning throughout. | |
| From: Richard Cartwright (Propositions [1962], 10) | |
| A reaction: This is important, because it shows that a proposition is not just the mental shadow behind a sentence, or a mental shadow awaiting a sentence. Unlike a sentence, a proposition can (and possibly must) include its own context. Very interesting! |
| 13943 | We can attribute 'true' and 'false' to whatever it was that was said [Cartwright,R] |
| Full Idea: We do sometimes say of something to which we have referred that it is true (or false). Are we not ordinarily doing just this when we utter such sentences as 'That's true' and 'What he said was false'? | |
| From: Richard Cartwright (Propositions [1962], 03) | |
| A reaction: This supports propositions, but doesn't clinch the matter. One could interpret this phenomenon as always being (implicitly) the reference of one sentence to another. However, I remember what he said, but I can't remember how he said it. |
| 13946 | To assert that p, it is neither necessary nor sufficient to utter some particular words [Cartwright,R] |
| Full Idea: In order to assert that p it is not necessary to utter exactly those words. ...Clearly, also, in order to assert that p, it is not sufficient to utter the words that were actually uttered. | |
| From: Richard Cartwright (Propositions [1962], 07) | |
| A reaction: I take the first point to be completely obvious (you can assert one thing with various wordings), and the second seems right after a little thought (the words could be vague, ambiguous, inaccurate, contextual) |
| 13951 | Assertions, unlike sentence meanings, can be accurate, probable, exaggerated, false.... [Cartwright,R] |
| Full Idea: Whereas what is asserted can be said to be accurate, exaggerated, unfounded, overdrawn, probable, improbable, plausible, true, or false, none of these can be said of the meaning of a sentence. | |
| From: Richard Cartwright (Propositions [1962], 12) | |
| A reaction: That fairly firmly kicks into touch the idea that the assertion is the same as the meaning of the sentence. |
| 12157 | Kant gave form and status to aesthetics, and Hegel gave it content [Kant, by Scruton] |
| Full Idea: Kant gave form and status to aesthetics, and Hegel endowed it with content. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Roger Scruton - Recent Aesthetics in England and America p.3 |
| 20346 | The aesthetic attitude is a matter of disinterestedness [Kant, by Wollheim] |
| Full Idea: The aesthetic attitude is defined by Kant in terms of disinterestedness. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Richard Wollheim - Art and Its Objects 54 | |
| A reaction: This is presumably, mainly, to explain our enjoyment of the miseries of tragedy. We just give ourselves up to a merry jig by Haydn. |
| 18547 | Only rational beings can experience beauty [Kant, by Scruton] |
| Full Idea: Kant is surely right that the experience of beauty, like the judgements in which it issues, is the prerogative of rational beings. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Roger Scruton - Beauty: a very short introduction 1 | |
| A reaction: I'm not sure how Scruton can say that Kant is 'surely right'. It is an interesting speculation. Are we to dogmatically affirm that bees get no aesthetic thrill when they spot a promising flower? Something in their little brains attracts them. |
| 24172 | It is hard to see why we would have developed Kant's 'disinterested' aesthetic attitude [Cochrane on Kant] |
| Full Idea: The Kantian notion of disinterest isolated aesthetic value from the rest of our lives. It is hard to understand why we should have developed a tendency that is detached from our everyday practical purposes. | |
| From: comment on Immanuel Kant (Critique of Judgement I: Aesthetic [1790], §2) by Tom Cochrane - The Aesthetic Value of the World 1.4 | |
| A reaction: Cochrane always seeks an evolutionary framework for accounts of aesthetics, and I agree with him. That doesn't devalue them. The best things in life, like piano music, are obviously offshoots of things which evolved for other reasons. |
| 20408 | With respect to the senses, taste is an entirely personal matter [Kant] |
| Full Idea: With regard to the agreeable, the principle Everyone has his own taste (of the senses) is valid. | |
| From: Immanuel Kant (Critique of Judgement I: Aesthetic [1790], CUP 7 5:212), quoted by Elizabeth Schellekens - Immanuel Kant (aesthetics) 1 | |
| A reaction: This is a preliminary concession, and he goes on to defend more objective views of taste. |
| 20409 | When we judge beauty, it isn't just personal; we judge on behalf of everybody [Kant] |
| Full Idea: It is ridiculous if someone justifies his tast by saying 'this object is beautiful for me'. . .If he pronounces that something is beautiful, then he expects the very same satisfaction of others: he judges not merely for himself, but for everyone. | |
| From: Immanuel Kant (Critique of Judgement I: Aesthetic [1790], CUP 7 5:213), quoted by Elizabeth Schellekens - Immanuel Kant (aesthetics) 1 | |
| A reaction: For Kant this would also be the hallmark of rationality - that we expect, or hope for, a consensus when we express a rational judgement. But this expectation is far less in cases of beauty. We do not expect total agreement from very tasteful people. |
| 20411 | Saying everyone has their own taste destroys the very idea of taste [Kant] |
| Full Idea: To say thast 'Everyone has his special taste' would be to dismiss the very possibility of aesthetic taste, and to deny that there could be aesthetic judgement 'that could make a rightful claim to the assent of everyone'. | |
| From: Immanuel Kant (Critique of Judgement I: Aesthetic [1790], CUP 7 5:213), quoted by Elizabeth Schellekens - Immanuel Kant (aesthetics) 2.2 | |
| A reaction: I am a great believer in the objectivity of taste (within sensible reason). But the great evidence against it is the shifting standards of taste over the centuries. Nineteenth century collectors wasted fortunes on inferior works, it seems to us. |
| 24170 | Kant thinks beauty ignores its objects, because it is only 'form' engaging with mind [Cochrane on Kant] |
| Full Idea: Kant thinks that the ideal of beauty requires no concept of what the object is. Universality demands that appreciation be purely a matter of the way the form of the object fits one's cognitive machinery. | |
| From: comment on Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Tom Cochrane - The Aesthetic Value of the World 1.3 | |
| A reaction: This confirms further my increasingly negative view of Kant. Everything in him points to idealism (despite denials by his fans), and via Hegel we arrive at the idea that our values are all 'cultural constructs', rather than responses to reality. |
| 22711 | The beautiful is not conceptualised as moral, but it symbolises or resembles goodness [Kant, by Murdoch] |
| Full Idea: Kant insists that the beautiful must not be tainted with the good (that is, not conceptualised in any way which would bring it into the sphere of moral judgement) yet he says that the beautiful symbolises the good, it is an analogy of the good. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Iris Murdoch - The Sublime and the Good p.209 | |
| A reaction: Kant evidently wanted a very pure view of the aesthetic experience, drained of any overlapping feelings or beliefs. I'm not sure I understand how the beautiful can symbolise or be analogous to the good, while being devoid of it. |
| 4025 | Kant saw beauty as a sort of disinterested pleasure, which has become separate from the good [Kant, by Taylor,C] |
| Full Idea: Kant, in his third critique, defined beauty in terms of a certain kind of disinterested pleasure;….this is the basis for a declaration of independence of the beautiful relative to the good. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Charles Taylor - Sources of the Self §23.1 | |
| A reaction: This is a rebellion against the Greeks, especially Plato, and prepares the ground for the idea of 'art for art's sake'. Personally, I'm with Plato. |
| 20412 | Beauty is only judged in pure contemplation, and not with something else at stake [Kant] |
| Full Idea: If the question is whether something is beautiful, one does not want to know whether there is something that is or that could be at stake, for us or for someone else, in the existence of the thing, but rather how we judge it in mere contemplation. | |
| From: Immanuel Kant (Critique of Judgement I: Aesthetic [1790], CUP 2 5:204), quoted by Elizabeth Schellekens - Immanuel Kant (aesthetics) 2.3 | |
| A reaction: This evidently denies that function has anything to do with beauty, and seems to be a prelude to 'art for art's sake'. But a running cheetah cannot be separated from the sheer efficiencey and focus of the performance. |
| 22046 | The mathematical sublime is immeasurable greatness; the dynamical sublime is overpowering [Kant, by Pinkard] |
| Full Idea: Kant distinguished the 'mathematical' and 'dynamical' sublime. The former involves immeasurable greatness (or smallness) such that we cannot even present them to ourselves. The latter is of something large and overpowering, which we can morally resist. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Terry Pinkard - German Philosophy 1760-1860 13 | |
| A reaction: Presumably Cantor revealed the full extent of the mathematical sublime ('heaven', according to Hilbert). We await the comet that destroys the Earth to fully experience the other one. |
| 21458 | The sublime is a moral experience [Kant, by Gardner] |
| Full Idea: The sublime is understood by Kant as a moral experience. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790], 28-9) by Sebastian Gardner - Kant and the Critique of Pure Reason 09 'Judgment' | |
| A reaction: Gardner give the source in Kant. I can't accept that the initial experience of the sublime is moral in character. It could easily acquire a moral character after contemplation by someone who had such inclinations. |
| 5643 | Aesthetic values are not objectively valid, but we must treat them as if they are [Kant, by Scruton] |
| Full Idea: The 'Critique of Judgement' argues, then, not for the objective validity of aesthetic values, but for the fact that we must think of them as objectively valid. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Roger Scruton - Short History of Modern Philosophy §11.7 | |
| A reaction: The trouble with these transcendental arguments of Kant is that they render you powerless to discuss the question of whether values are actually objective. We are all trapped in presuppositions, instead of testing suppositions. |
| 20410 | The judgement of beauty is not cognitive, but relates, via imagination, to pleasurable feelings [Kant] |
| Full Idea: In order to understand whether or not something is beautiful, we do not relate the representation by means of understanding to the object for cognition, but relate it by means of the imagination ..to the subject and its feeling of pleasure or displeasure. | |
| From: Immanuel Kant (Critique of Judgement I: Aesthetic [1790], CUP 1 5:203), quoted by Elizabeth Schellekens - Immanuel Kant (aesthetics) 2.1 | |
| A reaction: This is to distinguish the particular type of judgement which counts as 'aesthetic' - the point being that it is not cognitive - it is not a matter of knowledge and facts, but a cool judgement made about a warm feeling of pleasure. I think. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |