21 ideas
| 18901 | Truthmakers are facts 'of' a domain, not something 'in' the domain [Sommers] |
| Full Idea: A fact is an existential characteristic 'of' the domain; it is not something 'in' the domain. To search for truth-making facts in the world is indeed futile. | |
| From: Fred Sommers (Intellectual Autobiography [2005], 'Existence') | |
| A reaction: Attacking Austin on truth. Helpful. It is hard to see how a physical object has a mysterious power to 'make' a truth. No energy-transfer seems involved in the making. Animals think true thoughts; I suspect that concerns their mental maps of the world. |
| 18904 | 'Predicable' terms come in charged pairs, with one the negation of the other [Sommers, by Engelbretsen] |
| Full Idea: Sommers took the 'predicable' terms of any language to come in logically charged pairs. Examples might be red/nonred, massive/massless, tied/untied, in the house/not in the house. The idea that terms can be negated was essential for such pairing. | |
| From: report of Fred Sommers (Intellectual Autobiography [2005]) by George Engelbretsen - Trees, Terms and Truth 2 | |
| A reaction: If, as Rumfitt says, we learn affirmation and negation as a single linguistic operation, this would fit well with it, though Rumfitt doubtless (as a fan of classical logic) prefers to negation sentences. |
| 18895 | Logic which maps ordinary reasoning must be transparent, and free of variables [Sommers] |
| Full Idea: What would a 'laws of thought' logic that cast light on natural language deductive thinking be like? Such a logic must be variable-free, conforming to normal syntax, and its modes of reasoning must be transparent, to make them virtually instantaneous. | |
| From: Fred Sommers (Intellectual Autobiography [2005], 'How We') | |
| A reaction: This is the main motivation for Fred Sommers's creation of modern term logic. Even if you are up to your neck in modern symbolic logic (which I'm not), you have to find this idea appealing. You can't leave it to the psychologists. |
| 18897 | Predicate logic has to spell out that its identity relation '=' is an equivalent relation [Sommers] |
| Full Idea: Because predicate logic contrues identities dyadically, its account of inferences involving identity propositions needs laws or axioms of identity, explicitly asserting that the dyadic realtion in 'x=y' possesses symmetry, reflexivity and transitivity. | |
| From: Fred Sommers (Intellectual Autobiography [2005], 'Syllogistic') |
| 18893 | Translating into quantificational idiom offers no clues as to how ordinary thinkers reason [Sommers] |
| Full Idea: Modern predicate logic's methods of justification, which involve translation into an artificial quantificational idiom, offer no clues to how the average person, knowing no logic and adhering to the vernacular, is so logically adept. | |
| From: Fred Sommers (Intellectual Autobiography [2005], Intro) | |
| A reaction: Of course, people are very logically adept when the argument is simple (because, I guess, they can test it against the world), but not at all good when the reasoning becomes more complex. We do, though, reason in ordinary natural language. |
| 18903 | Sommers promotes the old idea that negation basically refers to terms [Sommers, by Engelbretsen] |
| Full Idea: If there is one idea that is the keystone of the edifice that constitutes Sommers's united philosophy it is that terms are the linguistic entities subject to negation in the most basic sense. It is a very old idea, tending to be rejected in modern times. | |
| From: report of Fred Sommers (Intellectual Autobiography [2005]) by George Engelbretsen - Trees, Terms and Truth 2 | |
| A reaction: Negation in modern logic is an operator applied to sentences, typically writing '¬Fa', which denies that F is predicated of a, with Fa being an atomic sentence. Do we say 'not(Stan is happy)', or 'not-Stan is happy', or 'Stan is not-happy'? Third one? |
| 18894 | Predicates form a hierarchy, from the most general, down to names at the bottom [Sommers] |
| Full Idea: We organise our concepts of predicability on a hierarchical tree. At the top are terms like 'interesting', 'exists', 'talked about', which are predicable of anything. At the bottom are names, and in between are predicables of some things and not others. | |
| From: Fred Sommers (Intellectual Autobiography [2005], 'Category') | |
| A reaction: The heirarchy seem be arranged simply by the scope of the predicate. 'Tallest' is predicable of anything in principle, but only of a few things in practice. Is 'John Doe' a name? What is 'cosmic' predicable of? Challenging! |
| 18900 | Unfortunately for realists, modern logic cannot say that some fact exists [Sommers] |
| Full Idea: Unfortunately for the fate of realist philosophy, modern logic's treatment of 'exists' is resolutely inhospitable to facts as referents of phrases of the form 'the existence or non-existence of φ'. | |
| From: Fred Sommers (Intellectual Autobiography [2005], 'Realism') | |
| A reaction: Predicate logic has to talk about objects, and then attribute predicates to them. It tends to treat a fact as 'Fa' - this object has this predicate, but that's not really how we understand facts. |
| 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. |
| 18898 | In standard logic, names are the only way to refer [Sommers] |
| Full Idea: In modern predicate logic, definite reference by proper names is the primary and sole form of reference. | |
| From: Fred Sommers (Intellectual Autobiography [2005], 'Reference') | |
| A reaction: Hence we have to translate definite descriptions into (logical) names, or else paraphrase them out of existence. The domain only contains 'objects', so only names can uniquely pick them out. |
| 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. |
| 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? |
| 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. |