6 ideas
| 19043 | Bivalence applies not just to sentences, but that general terms are true or false of each object [Quine] |
| Full Idea: It is in the spirit of bivalence not just to treat each closed sentence as true or false; as Frege stressed, each general term must be definitely true or false of each object, specificiable or not. | |
| From: Willard Quine (What Price Bivalence? [1981], p.36) | |
| A reaction: But note that this is only the 'spirit' of the thing. If you had (as I do) doubts about whether predicates actually refer to genuine 'properties', you may want to stick to the whole sentence view, and not be so fine-grained. |
| 19042 | Terms learned by ostension tend to be vague, because that must be quick and unrefined [Quine] |
| Full Idea: A term is apt to be vague if it is to be learned by ostension, since its applicability must admit of being judged on the spot and so cannot hinge of fine distinctions laboriously drawn. | |
| From: Willard Quine (What Price Bivalence? [1981], p.32) | |
| A reaction: [Quine cites C. Wright for this] Presumably precision can steadily increased by repeated ostension. After the first 'dog' it's pretty vague; after hundreds of them we are pretty clear about it. Long observation of borderline 'clouds' could do the same. |
| 12167 | Reference without predication is the characteristic of expression [Scruton] |
| Full Idea: Characteristic of expression is the presence of 'reference' without predication. | |
| From: Roger Scruton (Representation in Music [1976], p.71) | |
| A reaction: This echoes (in linguistic terms) Kant's thought that art is 'purposive without purpose'. The remark is comfortable in an essay on music, but it gets more tricky when the topic is literature, or even representational painting. |
| 12166 | If music refers to love, it contains no predication, so it is expression, not language [Scruton] |
| Full Idea: If a passage carries a reference to love, we are not told what it says about love. And to speak of language with 'reference' but no predication is simply to misuse the word. We leave the realm of representation and enter that of expression. | |
| From: Roger Scruton (Representation in Music [1976], p.63-4) | |
| A reaction: This is a beautifully simple objection to the idea (associated with Nelson Goodman) that art is a language. Though what an 'expression' of something amounts to I am not quite sure. |
| 12168 | Music is not representational, since thoughts about a subject are never essential to it [Scruton] |
| Full Idea: Music is not representational, since thoughts about a subject are never essential to the understanding of music. | |
| From: Roger Scruton (Representation in Music [1976], p.74) | |
| A reaction: I would not have thought that many people thought music was representational, but Scruton particularly mentions passages in opera that seem to pick up aspects of the story. Do even bell sounds not represent bells? |
| 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? |