29 ideas
| 19215 | Arguers often turn the opponent's modus ponens into their own modus tollens [Merricks] |
| Full Idea: There is a seasoned method of turning your opponent's modus ponens into your own modus tollens. | |
| From: Trenton Merricks (Propositions [2015], 5.VII) | |
| A reaction: That is, they say 'if he's coming he'll be hear by now, and he's definitely coming', to which you say 'I'm afraid he's not here, so he obviously isn't coming after all'. They say if-A-then-B, and A, so B. You say not-B, so you're wrong about A. |
| 19205 | 'Snow is white' only contingently expresses the proposition that snow is white [Merricks] |
| Full Idea: It is contingently true that 'snow is white' expresses the proposition that snow is white. | |
| From: Trenton Merricks (Propositions [2015], 1.V n14) | |
| A reaction: Tarski stuck to sentences, but Merricks rightly argues that truth concerns propositions, not sentences. Sentences are subservient entities - mere tools used to express what matters, which is our thoughts (say I). |
| 19209 | Simple Quantified Modal Logc doesn't work, because the Converse Barcan is a theorem [Merricks] |
| Full Idea: Logical consequence guarantees preservation of truth. The Converse Barcan, a theorem of Simple Quantified Modal Logic, says that an obvious truth implies an obvious falsehood. So SQML gets logical consequence wrong. So SQML is mistaken. | |
| From: Trenton Merricks (Propositions [2015], 2.V) | |
| A reaction: I admire this. The Converse Barcan certainly strikes me as wrong (Idea 19208). Merricks grasps this nettle. Williamson grasps the other nettle. Most people duck the issue, I suspect. Merricks says later that domains are the problem. |
| 19208 | The Converse Barcan implies 'everything exists necessarily' is a consequence of 'necessarily, everything exists' [Merricks] |
| Full Idea: The Converse Barcan Formula has a startling result. Simple Quantified Modal Logic (SQML) has the following as a theorem: □∀xFx → ∀x□Fx. So 'everything exists necessarily' is a consequence of 'necessarily, everything exists'. | |
| From: Trenton Merricks (Propositions [2015], 2.V) | |
| A reaction: He says this is blatantly wrong. Williamson is famous for defending it. I think I'm with Merricks on this one. |
| 19207 | Sentence logic maps truth values; predicate logic maps objects and sets [Merricks] |
| Full Idea: The models for sentential logic map sentences to truth-values. The models for predicate logic map parts of sentences to objects and sets. | |
| From: Trenton Merricks (Propositions [2015], 2.II) | |
| A reaction: Logic books rarely tell you important things like this. That is why this database is so incredibly important! You will never understand the subject if you don't collect together the illuminating asides of discussion. They say it all so much more simply. |
| 19214 | In twinning, one person has the same origin as another person [Merricks] |
| Full Idea: Origin essentialists claim that parental union results in a person, and that person could not have resulted from any other union. However, if the fertilised egg undergoes twinning, at least one of the resultant persons is not the original person. | |
| From: Trenton Merricks (Propositions [2015], 5.V) | |
| A reaction: Merricks says that therefore that origin could have just produced the second twin, rather than the original person. This is interesting, but doesn't seem to threaten the necessity of origin thesis. Once I'm here, I have that origin, despite my twin. |
| 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. |
| 19217 | I don't accept that if a proposition is directly about an entity, it has a relation to the entity [Merricks] |
| Full Idea: The Aboutness Assumption says that necessarily, if a proposition is directly about an entity, then that proposition stands in a relation to the entity. I shall argue that the Assumption is false. | |
| From: Trenton Merricks (Propositions [2015], 5.VII) | |
| A reaction: This feels sort of right, though the nature of aboutness remains elusive. He cites denials of existence. I take speech to be fairly internal, even though its main role is communication. Maybe its a Cambridge relation, as far as the entity is concerned. |
| 19203 | A sentence's truth conditions depend on context [Merricks] |
| Full Idea: A sentence has truth conditions only in a context of use. And the truth conditions of many sentences can differ from one context of use to another (as in 'I am a philosopher'). | |
| From: Trenton Merricks (Propositions [2015], 1.II) | |
| A reaction: He is building a defence of propositions, because they are eternal, and have their truth conditions essentially. I too am a fan of propositions. |
| 19200 | Propositions are standardly treated as possible worlds, or as structured [Merricks] |
| Full Idea: The thesis that propositions are sets of possible worlds is one of the two leading accounts of the nature of propositions. The other leading account endorses structured propositions. | |
| From: Trenton Merricks (Propositions [2015], Intro) | |
| A reaction: Merricks sets out to reject both main views. I take the idea that propositions actually are sets of possible worlds to be ridiculous (though they may offer a way of modelling them). The idea that they have no structure at all strikes me as odd. |
| 19206 | 'Cicero is an orator' represents the same situation as 'Tully is an orator', so they are one proposition [Merricks] |
| Full Idea: The proposition expressed by 'Cicero is an orator' represents things as being exactly the same way as does the proposition expressed by 'Tully is an orator'. Hence two sentences express the same proposition. Fregeans about names deny this. | |
| From: Trenton Merricks (Propositions [2015], 2.II) | |
| A reaction: Merricks makes the situation in the world fix the contents of the proposition. I don't agree. I would expand the first proposition as 'The person I know as 'Cicero' was an orator', but I might never have heard of 'Tully'. |
| 19202 | Propositions are necessary existents which essentially (but inexplicably) represent things [Merricks] |
| Full Idea: My account says that each proposition is a necessary existent that essentially represents things as being a certain way, ...and there is no explanation of how propositions do that. | |
| From: Trenton Merricks (Propositions [2015], Intro) | |
| A reaction: Since I take propositions to be brain events, I don't expect much of an explanation either. The idea that propositions necessarily exist strikes me as false. If there were no minds, there would have been no propositions. |
| 19204 | True propositions existed prior to their being thought, and might never be thought [Merricks] |
| Full Idea: 1,000 years ago, no sentence had ever expressed, and no one had believed, the true proposition 'a water molecule has two hydrogen and one oxygen atoms'. There are surely true propositions that have never been, and never will be, expressed or believed. | |
| From: Trenton Merricks (Propositions [2015], 1.V) | |
| A reaction: 'Surely'? Surely not! How many propositions exist? Where do they exist? What are they made of? If they already exist when we think them, how do we tune into them? When did his example come into existence? Before water did? No! No! |
| 19210 | The standard view of propositions says they never change their truth-value [Merricks] |
| Full Idea: The standard view among philosophers nowadays seems to be that propositions do not and even cannot change in truth-value. But my own view is that some propositions can, and do, change in truth value. | |
| From: Trenton Merricks (Propositions [2015], 3.VII) | |
| A reaction: He gives 'that A sits' as an example of one which can change, though 'that A sits at time t' cannot change. I take Merricks to be obviously right, and cannot get my head round the 'standard' view. What on earth do they think a proposition is? |
| 19201 | Propositions can be 'about' an entity, but that doesn't make the entity a constituent of it [Merricks] |
| Full Idea: If a singular proposition is 'directly about' an entity, I argue that a singular proposition does not have the entity that it is directly about as a constituent. | |
| From: Trenton Merricks (Propositions [2015], Intro) | |
| A reaction: This opposes the view of the early Russell, that propositions actually contain the entities they are about, thus making propositions real features of the external world. I take that view of Russell's to be absurd. |
| 19211 | Early Russell says a proposition is identical with its truthmaking state of affairs [Merricks] |
| Full Idea: I describe Russell's 1903 account of propositions as the view that each proposition is identical with the state of affairs that makes that proposition true. That is, a proposition is identical with its 'truthmaking' state of affairs. | |
| From: Trenton Merricks (Propositions [2015], 4.II) | |
| A reaction: Russell soon gave this view up (false propositions proving tricky), and I'm amazed anyone takes it seriously. I take it as axiomatic that if there were no minds there would be no propositions. Was the Big Bang a set of propositions? |
| 19212 | Unity of the proposition questions: what unites them? can the same constituents make different ones? [Merricks] |
| Full Idea: What binds the constituents of a structured proposition together into a single unity, a proposition? Can the very same constituents constitute two distinct propositions? These are questions about 'the unity of the proposition'. | |
| From: Trenton Merricks (Propositions [2015], 4.II) | |
| A reaction: Merricks solves it by saying propositions have no structure. The problem is connected to the nature of predication (instantiation, partaking). You can't just list objects and their properties. Objects are united, and thus propositions are too. |
| 19213 | We want to explain not just what unites the constituents, but what unites them into a proposition [Merricks] |
| Full Idea: A successful account of the unity of the proposition tells us what unites the relevant constituents not merely into some entity or other, but into a proposition. | |
| From: Trenton Merricks (Propositions [2015], 4.X) | |
| A reaction: Merrickes takes propositions to be unanalysable unities, but their central activity is representation, so if they needed uniting, that would be the place to look. Some people say that we unite our propositions. Others say the world does. I dunno. |
| 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. |
| 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. |
| 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? |