8 ideas
| 3158 | Theories of intentionality presuppose rationality, so can't explain it [Dennett] |
| Full Idea: Intentional theory is vacuous as psychology because it presupposes and does not explain rationality or intelligence. | |
| From: Daniel C. Dennett (Brainstorms:Essays on Mind and Psychology [1978], p.15?) | |
| A reaction: Virtually every philosophical theory seems to founder because it presupposes something like the thing it is meant to explain. I agree that 'intentionality' is a slightly airy concept that would probably reduce to something better. |
| 3159 | Beliefs and desires aren't real; they are prediction techniques [Dennett] |
| Full Idea: Intentional systems don't really have beliefs and desires, but one can explain and predict their behaviour by ascribing beliefs and desires to them. This strategy is pragmatic, not right or wrong. | |
| From: Daniel C. Dennett (Brainstorms:Essays on Mind and Psychology [1978], p.7?) | |
| A reaction: If the ascription of beliefs and desires explains behaviour, then that is good grounds for thinking they might be real features of the brain, and even if that is not so, they are real enough as abstractions from brain events, like the 'economic climate'. |
| 8693 | An 'abstraction principle' says two things are identical if they are 'equivalent' in some respect [Boolos] |
| Full Idea: Hume's Principle has a structure Boolos calls an 'abstraction principle'. Within the scope of two universal quantifiers, a biconditional connects an identity between two things and an equivalence relation. It says we don't care about other differences. | |
| From: George Boolos (Is Hume's Principle analytic? [1997]), quoted by Michèle Friend - Introducing the Philosophy of Mathematics 3.7 | |
| A reaction: This seems to be the traditional principle of abstraction by ignoring some properties, but dressed up in the clothes of formal logic. Frege tries to eliminate psychology, but Boolos implies that what we 'care about' is relevant. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |