11 ideas
| 15538 | Semantic indecision explains vagueness (if we have precisifications to be undecided about) [Lewis] |
| Full Idea: Semantic indecision will suffice to explain the phenomenon of vagueness. [note] Provided that there exist the many precisifications for us to be undecided between. If you deny this, you will indeed have need of vague objects. | |
| From: David Lewis (Many, but almost one [1993], 'Two solutions') | |
| A reaction: [He mentions Van Inwagen 1990:213-83] There seem to be three solutions to vague objects: that they really are vague, that they are precise but we can't know precisely, or Lewis's view. I like Lewis's view. Do animals have any problem with vagueness? |
| 15537 | If cats are vague, we deny that the many cats are one, or deny that the one cat is many [Lewis] |
| Full Idea: To deny that there are many cats on the mat (because removal of a few hairs seems to produce a new one), we must either deny that the many are cats, or else deny that the cats are many. ...I think both alternatives lead to successful solutions. | |
| From: David Lewis (Many, but almost one [1993], 'The paradox') | |
| A reaction: He credits the problem to Geach (and Tibbles), and says it is the same as Unger's 'problem of the many' (Idea 15536). |
| 15536 | We have one cloud, but many possible boundaries and aggregates for it [Lewis] |
| Full Idea: Many surfaces are equally good candidates to be boundaries of a cloud; therefore many aggregates of droplets are equally good candidates to be the cloud. How is it that we have just one cloud? And yet we do. This is Unger's (1980) 'problem of the many'. | |
| From: David Lewis (Many, but almost one [1993], 'The problem') | |
| A reaction: This is the problem of vague objects, as opposed to the problem of vague predicates, or the problem of vague truths, or the problem of vague prepositions (like 'towards'). |
| 10486 | If we are rebuilding our ship at sea, we should jettison some cargo [Boolos on Neurath] |
| Full Idea: If we are sailors rebuilding our ship plank by plank on the open sea, then I know of some cargo we might want to jettison. | |
| From: comment on Otto Neurath (Protocol Sentences [1932]) by George Boolos - Must We Believe in Set Theory? p.128 | |
| A reaction: This may just be an assertion of Ockham's Razor, but the interest is that the Neurath image demands internal standards of economy etc, whereas reality itself seems to be a right mess. |
| 8485 | We must always rebuild our ship on the open sea; we can't reconstruct it properly in dry-dock [Neurath] |
| Full Idea: We are like sailors who must rebuild their ship out on the open sea, never able to dismantle it in a dry-dock and reconstruct it there out of the best materials. | |
| From: Otto Neurath (Protocol Sentences [1932]), quoted by Alex Orenstein - W.V. Quine Ch.8 | |
| A reaction: This is the classic statement of the anti-foundationalist picture of knowledge. It is often quoted by Quine. A tricky issue. I have a lot of sympathy with Bonjour's rationalist foundationalism. |
| 15539 | Basic to pragmatics is taking a message in a way that makes sense of it [Lewis] |
| Full Idea: The cardinal principle of pragmatics is that the right way to take what is said, if at all possible, is the way that makes sense of the message. | |
| From: David Lewis (Many, but almost one [1993], 'A better solution') | |
| A reaction: Thus when someone misuses a word, suggesting nonsense, we gloss over it, often without even mentioning it, because the underlying sense is obvious. A good argument for the existence of propositions. Lewis doesn't mention truth. |
| 12163 | Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton] |
| Full Idea: We must discover the meanings that emerge when works of literature are experience in relation to each other. ...The importance of tradition is that it denotes - ideally, at least - the class of relevant comparisons. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.27) | |
| A reaction: This is a nice attempt to explain why we all agree that a thorough education in an art is an essential prerequisite for good taste. Some people (e.g. among the young) seem to have natural good taste. How does that happen? |
| 12162 | In literature, word replacement changes literary meaning [Scruton] |
| Full Idea: In literary contexts semantically equivalent words cannot replace each other without loss of literary meaning. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.25) | |
| A reaction: The notion of 'literary meaning' is not a standard one, and is questionable whether 'meaning' is the right word, given that a shift in word in a poem is as much to do with sound as with connotations. |
| 12159 | Without intentions we can't perceive sculpture, but that is not the whole story [Scruton] |
| Full Idea: A person for whom it made no difference whether a sculpture was carved by wind and rain or by human hand would be unable to interpret or perceive sculptures - even though the interpretation of sculpture is not the reading of an intention. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.15) | |
| A reaction: Scruton compares it to the role of intention in language, where there is objective meaning, even though intention is basic to speech. |
| 12160 | In aesthetic interest, even what is true is treated as though it were not [Scruton] |
| Full Idea: In aesthetic interest, even what is true is treated as though it were not. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.18) | |
| A reaction: A nice aphorism. I always feel uncomfortable reading novels about real people, although the historical Macbeth doesn't bother me much. Novels are too close to reality. Macbeth didn't speak blank verse. |
| 12161 | We can be objective about conventions, but love of art is needed to understand its traditions [Scruton] |
| Full Idea: An historian can elucidate convention while having no feeling for the art that exploits it; whereas an understanding of tradition is reserved for those with the critical insight which comes from the love of art, both past and present. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.24) | |
| A reaction: This aesthetic observation is obviously close to Scruton's well-known conservatism in politics. I am doubtful whether the notion of 'tradition' can stand up to close examination, though we all know roughly what he means. |