9 ideas
| 18935 | Semantic theory should specify when an act of naming is successful [Sawyer] |
| Full Idea: A semantic theory of names should deliver a specification of the conditions under which a name names an individual, and hence a specification of the conditions under which a name is empty. | |
| From: Sarah Sawyer (Empty Names [2012], 1) | |
| A reaction: Naming can be private, like naming my car 'Bertrand', but never tell anyone. I like Plato's remark that names are 'tools'. Do we specify conditions for successful spanner-usage? The first step must be individuation, preparatory to naming. |
| 18945 | Millians say a name just means its object [Sawyer] |
| Full Idea: The Millian view of direct reference says that the meaning of a name is the object named. | |
| From: Sarah Sawyer (Empty Names [2012], 4) | |
| A reaction: Any theory that says meaning somehow is features of the physical world strikes me as totally misguided. Napoleon is a man, so he can't be part of a sentence. He delegates that job to words (such as 'Napoleon'). |
| 18934 | Sentences with empty names can be understood, be co-referential, and even be true [Sawyer] |
| Full Idea: Some empty names sentences can be understood, so appear to be meaningful ('Pegasus was sired by Poseidon'), ...some appear to be co-referential ('Santa Claus'/'Father Christmas'), and some appear to be straightforwardly true ('Pegasus doesn't exist'). | |
| From: Sarah Sawyer (Empty Names [2012], 1) | |
| A reaction: Hang on to this, when the logicians arrive and start telling you that your talk of empty names is vacuous, because there is no object in the 'domain' to which a predicate can be attached. Meaning, reference and truth are the issues around empty names. |
| 18938 | Frege's compositional account of truth-vaues makes 'Pegasus doesn't exist' neither true nor false [Sawyer] |
| Full Idea: In Frege's account sentences such as 'Pegasus does not exist' will be neither true nor false, since the truth-value of a sentence is its referent, and the referent of a complex expression is determined by the referent of its parts. | |
| From: Sarah Sawyer (Empty Names [2012], 2) | |
| A reaction: We can keep the idea of 'sense', which is very useful for dealing with empty names, but tweak his account of truth-values to evade this problem. I'm thinking that meaning is compositional, but truth-value isn't. |
| 18947 | Definites descriptions don't solve the empty names problem, because the properties may not exist [Sawyer] |
| Full Idea: If it were possible for a definite description to be empty - not in the sense of there being no object that satisfies it, but of there being no set of properties it refers to - the problem of empty names would not have been solved. | |
| From: Sarah Sawyer (Empty Names [2012], 5) | |
| A reaction: Swoyer is thinking of properties like 'is a unicorn', which are clearly just as vulnerable to being empty as 'the unicorn' was. It seems unlikely that 'horse', 'white' and 'horn' would be empty. |
| 20327 | Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson] |
| Full Idea: In modern discussions, rather than look for intrinsic properties of objects, including aesthetic or formal properties, attention has turned to extrinsic or relational properties, notably of a social, historical, or 'institutional' nature. | |
| From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1) | |
| A reaction: Lots of modern branches of philosophy have made this move, which seems to me like a defeat. We want to know why things have the relations they do. Just mapping the relations is superficial Humeanism. |
| 20326 | Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson] |
| Full Idea: In the early twentieth century there were numerous attempts at defining the essence art. Significant form, intuition, the expression of emotion, organic unity, and other notions, were offered to this end. | |
| From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1) | |
| A reaction: As far as I can see the whole of aesthetics was demolished in one blow by Marcel Duchamp's urinal. Artists announce: we will tell you what art is; you should just sit and listen. Compare the invention of an anarchic sport. |
| 20330 | The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson] |
| Full Idea: The dualistic view of the arts holds that works of art come in two fundamentally different kinds: those that are abstract entities, i.e. types, and those that are physical objects (tokens). | |
| From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 2) | |
| A reaction: Paintings are the main reason for retaining physical objects. Strawson 1974 argues that paintings are only physical because we cannot yet perfectly reproduce them. I agree. Works of art are types, not tokens. |
| 4375 | Evaluations are not disguised emotions; instead, emotion is a type of evaluation [Achtenberg] |
| Full Idea: The emotivist gets things backwards: evaluations are not disguised emotions; instead, emotions are types of evaluation. | |
| From: Deborah Achtenberg (Cognition of Value in Aristotle's Ethics [2002], 6.1) | |
| A reaction: A nice comment, though a bit optimistic. It is certainly a valuable corrective to emotivist to pin down the cognitive and evaluative aspects of emotion, rather than regarding them as 'raw' feelings. |