43 ideas
| 4697 | There has been a distinct 'Social Turn' in recent philosophy, like the earlier 'Linguistic Turn' [O'Grady] |
| Full Idea: The Social Turn is as defining a characteristic of contemporary philosophy as the Linguistic Turn has been of the earlier twentieth century period. | |
| From: Paul O'Grady (Relativism [2002], Ch.1) | |
| A reaction: A helpful observation. It ties in with externalism about concepts (Twin Earth), impossibility of Private Language, and externalism about knowledge. |
| 4731 | Good reasoning will avoid contradiction, enhance coherence, not ignore evidence, and maximise evidence [O'Grady] |
| Full Idea: The four basic principles of rationality are 1) avoid contradiction, 2) enhance coherence, 3) avoid ignoring evidence, and 4) maximise evidence. | |
| From: Paul O'Grady (Relativism [2002], Ch.5) | |
| A reaction: I like this, and can't think of any additions. 'Coherence' is the vaguest of the conditions. Maximising evidence is still the driving force of science, even if it does sound quaintly positivist. |
| 4735 | Just as maps must simplify their subject matter, so thought has to be reductionist about reality [O'Grady] |
| Full Idea: A map that is identical in all respects with that which is mapped is just useless. So reductionism is not just a good thing - it is essential to thought. | |
| From: Paul O'Grady (Relativism [2002], Ch.6) | |
| A reaction: A useful warning, when thinking about truth. It is folly to want your thoughts to exactly correspond to reality. I want to understand the world, but not if it requires being the world. |
| 4703 | The epistemic theory of truth presents it as 'that which is licensed by our best theory of reality' [O'Grady] |
| Full Idea: The epistemic theory of truth presents it as 'that which is licensed by our best theory of reality'. | |
| From: Paul O'Grady (Relativism [2002], Ch.2) | |
| A reaction: Dangerous nonsense. This leaves truth shifting as our theories change, it leads to different truths in different cultures, and no palpable falsehood in ignorant cultures. Don't give it house-room. |
| 4701 | To say a relative truth is inexpressible in other frameworks is 'weak', while saying it is false is 'strong' [O'Grady] |
| Full Idea: Weak alethic relativism holds that while a statement may be true in one framework, it is inexpressible in another. Strong alethic relativism is where a sentence is true relative to one framework, but false relative to another. | |
| From: Paul O'Grady (Relativism [2002], Ch.2) | |
| A reaction: The weak version will be Kuhn's 'incommensurability' of scientific theories, while the strong version will be full Protagorean relativism, saying all beliefs are true. |
| 4705 | Logical relativism appears if we allow more than one legitimate logical system [O'Grady] |
| Full Idea: Logical relativism emerges if one defends the existence of two or more rival systems that one may legitimately choose between, or move back and forth between. | |
| From: Paul O'Grady (Relativism [2002], Ch.2) | |
| A reaction: All my instincts rebel against this possibility. All of Aristotle's and Kant's philosophy would be rendered meaningless. Obviously you can create artificial logics (like games), but I believe there is a truth logic. (Pathetic, isn't it?) |
| 4700 | A third value for truth might be "indeterminate", or a point on a scale between 'true' and 'false' [O'Grady] |
| Full Idea: Suggestions for a third value for truth are "indeterminate", or a scale running from "true", through "mostly true", "mainly true", "half true", "mainly false", "mostly false", to "false", or maybe even "0.56 true". | |
| From: Paul O'Grady (Relativism [2002], Ch.2) | |
| A reaction: Anything on a sliding scale sounds wrong, as it seems to be paracitic on an underlying fixed idea of 'true'. "Indeterminate", though, seems just right for the truth of predictions ('sea-fight tomorrow'). |
| 4704 | Wittgenstein reduced Russell's five primitive logical symbols to a mere one [O'Grady] |
| Full Idea: While Russell and Whitehead used five primitive logical symbols in their system, Wittgenstein suggested in his 'Tractatus' that this be reduced to one. | |
| From: Paul O'Grady (Relativism [2002], Ch.2) | |
| A reaction: This certainly captures why Russell was so impressed by him. In retrospect what looked like progress presumably now looks like the beginning of the collapse of the enterprise. |
| 4711 | Anti-realists say our theories (such as wave-particle duality) give reality incompatible properties [O'Grady] |
| Full Idea: The anti-realist says we have theories about the world that are incompatible with each other, and irreducible to each other. They often cite wave-particle duality, which postulate incompatible properties to reality. | |
| From: Paul O'Grady (Relativism [2002], Ch.3) | |
| A reaction: Most physicists, of course, hate this duality, precisely because they can't conceive how the two properties could be real. I say realism comes first, and the theories must try to accommodate that assumption. |
| 4698 | What counts as a fact partly depends on the availability of human concepts to describe them [O'Grady] |
| Full Idea: What counts as a fact partly depends on human input, such as the availability of concepts to describe such facts. | |
| From: Paul O'Grady (Relativism [2002], Ch.1) | |
| A reaction: The point must be taken. I am happy to generalise about 'The Facts', meaning 'whatever is the case', but the individuation of specific facts is bound to hit the current problem. |
| 4715 | We may say that objects have intrinsic identity conditions, but still allow multiple accounts of them [O'Grady] |
| Full Idea: Those defending the claim that objects exist with identity conditions not imposed by us, do not have to say that there is just one account of those objects possible. | |
| From: Paul O'Grady (Relativism [2002], Ch.3) | |
| A reaction: This seems right, but the test question is whether the mind of God contains a single unified theory/account. Are multiple accounts the result of human inadequacy? Yes, I surmise. |
| 13128 | 'Ultimate sortals' cannot explain ontological categories [Westerhoff on Wiggins] |
| Full Idea: 'Ultimate sortals' are said to be non-subordinated, disjoint from one another, and uniquely paired with each object. Because of this, the ultimate sortal cannot be a satisfactory explication of the notion of an ontological category. | |
| From: comment on David Wiggins (Identity and Spatio-Temporal Continuity [1971], p.75) by Jan Westerhoff - Ontological Categories §26 | |
| A reaction: My strong intuitions are that Wiggins is plain wrong, and Westerhoff gives the most promising reasons for my intuition. The simplest point is that objects can obviously belong to more than one category. |
| 4719 | Maybe developments in logic and geometry have shown that the a priori may be relative [O'Grady] |
| Full Idea: A weaker form of relativism holds that developments in logic, in maths and in geometry have shown how a relativised notion of the a priori is possible. | |
| From: Paul O'Grady (Relativism [2002], Ch.4) | |
| A reaction: This is non-Euclidean geometry, and multiple formalisations of logic. Personally I don't believe it. You can expand these subjects, and pursue whimsical speculations, but I have faith in their stable natural core. Neo-Platonism. |
| 4720 | Sense-data are only safe from scepticism if they are primitive and unconceptualised [O'Grady] |
| Full Idea: The reason sense-data were immune from doubt was because they were so primitive; they were unstructured and below the level of conceptualisation. Once they were given structure and conceptualised, they were no longer safe from sceptical challenge. | |
| From: Paul O'Grady (Relativism [2002], Ch.4) | |
| A reaction: The question of whether sense-data are conceptualised doesn't have to be all-or-nothing. As concepts creep in, so does scepticism, but so what? Sensible philosophers live with scepticism, like a mad aunt in the attic. |
| 4722 | Modern epistemology centres on debates about foundations, and about external justification [O'Grady] |
| Full Idea: The two dichotomies which set the agenda in contemporary epistemology are the foundationalist-coherentist debate, and the internalist-externalist debate. | |
| From: Paul O'Grady (Relativism [2002], Ch.4) | |
| A reaction: Helpful. Roughly, foundationalists are often externalists (if they are empiricists), and coherentists are often internalists (esp. if they are rationalists). An eccentric combination would make a good PhD. |
| 4724 | Internalists say the reasons for belief must be available to the subject, and externalists deny this [O'Grady] |
| Full Idea: Internalism about justification says that the reasons one has for a belief must be in some sense available to the knowing subject, ..while externalism holds that it is possible for a person to have a justified belief without having access to the reason. | |
| From: Paul O'Grady (Relativism [2002], Ch.4) | |
| A reaction: It strikes me that internalists are talking about the believer being justified, and externalists talk about the belief being justified. I'm with the internalists. If this means cats don't know much, so much the worse for cats. |
| 4723 | Coherence involves support from explanation and evidence, and also probability and confirmation [O'Grady] |
| Full Idea: Coherentist justification is more than absence of contradictions, and will involve issues like explanatory support and evidential support, and perhaps issues about probability and confirmation too. | |
| From: Paul O'Grady (Relativism [2002], Ch.4) | |
| A reaction: Something like this is obviously essential. Is the notion of 'relevance' also needed (e.g. to avoid the raven paradox of induction)? Coherence of justification will combine with correspondence for truth. |
| 4709 | Ontological relativists are anti-realists, who deny that our theories carve nature at the joints [O'Grady] |
| Full Idea: Ontological relativists are anti-realists in the strong sense; they hold as meaningless the view that our theories carve nature at the joints. | |
| From: Paul O'Grady (Relativism [2002], Ch.3) | |
| A reaction: This pinpoints my disagreement with such relativism, as it seems obvious to me that nature has 'joints', and that we would agree with any sensible alien about lots of things. |
| 4725 | Contextualism says that knowledge is relative to its context; 'empty' depends on your interests [O'Grady] |
| Full Idea: Contextualist about knowledge say that "to know" means different things in different context. For example, a warehouse may be empty for a furniture owner, but not for a bacteriologist or a physicist. | |
| From: Paul O'Grady (Relativism [2002], Ch.4) | |
| A reaction: There is obviously some truth in this, but we might say that 'empty' is a secondary quality, or that 'empty for furniture' is not relative. We needn't accept relativism here. |
| 4732 | One may understand a realm of ideas, but be unable to judge their rationality or truth [O'Grady] |
| Full Idea: It is possible to conceive of one understanding the meaning of a realm of ideas, but holding that one cannot judge as to the truth or rationality of the claims made in it. | |
| From: Paul O'Grady (Relativism [2002], Ch.5) | |
| A reaction: I think Davidson gives good grounds for challenging this, by doubt whether one 'conceptual scheme' can know another without grasping its rationality and truth-conditions. |
| 4710 | Verificationism was attacked by the deniers of the analytic-synthetic distinction, needed for 'facts' [O'Grady] |
| Full Idea: Verificationism came under attack from empiricists who were friendly to the banishment of traditional metaphysics, but unfriendly to the analytic-synthetic distinction, on which the idea of a 'factual statement' depended. | |
| From: Paul O'Grady (Relativism [2002], Ch.3) | |
| A reaction: I don't accept this move because I don't consider the 'facts' to be language-dependent. They are pre-linguistic, they outrun that capacity of our language, and they are available to animals. |
| 4717 | If we abandon the analytic-synthetic distinction, scepticism about meaning may be inevitable [O'Grady] |
| Full Idea: There may be no way to avoid scepticism about meaning if you abandon the analytic-synthetic distinction in the way Quine does. | |
| From: Paul O'Grady (Relativism [2002], Ch.3) | |
| A reaction: My suspicion was always that Quine's proposal began the slippery road to hell. It appears to be pragmatists who are most drawn to Quine's idea. The proposal that all my analytic propositions could be treated as synthetic totally baffles me. |
| 4706 | Early Quine says all beliefs could be otherwise, but later he said we would assume mistranslation [O'Grady] |
| Full Idea: In his earlier work, Quine defended the view that no belief (including logic) is in principle unrevisable, but in his later work (1970) he took the conservative view that we would always impute mistranslation rather than deviancy. | |
| From: Paul O'Grady (Relativism [2002], Ch.2) | |
| A reaction: I take it he was influenced by Davidson's 'principle of charity'. He says that if someone asserts 'p and not-p', we would assume a misunderstanding of 'and' or 'not'. |
| 4734 | Cryptographers can recognise that something is a language, without translating it [O'Grady] |
| Full Idea: It makes sense to think that one could recognise that something is a language without necessarily being able to translate it; cryptographers do this all the time. | |
| From: Paul O'Grady (Relativism [2002], Ch.5) | |
| A reaction: Maybe, but cryptographers usually have a lot of context to work with. If we met extraterrestrials if might not be so clear. One can only spot patterns, and crystals have those. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |
| 4727 | The chief problem for fideists is other fideists who hold contrary ideas [O'Grady] |
| Full Idea: The chief problem for fideists is other fideists who hold contrary ideas. | |
| From: Paul O'Grady (Relativism [2002], Ch.4) | |
| A reaction: The other problem is trying to find grounds for sticking to the object of one's faith, rather than changing from time to time. |