12 ideas
| 11970 | Logicians like their entities to exhibit a maximum degree of purity [Kaplan] |
| Full Idea: Logicians like their entities to exhibit a maximum degree of purity. | |
| From: David Kaplan (Transworld Heir Lines [1967], p.97) | |
| A reaction: An important observation, which explains why the modern obsession with logic has often led us down the metaphysical primrose path to ontological hell. |
| 11969 | Models nicely separate particulars from their clothing, and logicians often accept that metaphysically [Kaplan] |
| Full Idea: The use of models is so natural to logicians ...that they sometimes take seriously what are only artefacts of the model, and adopt a bare particular metaphysics. Why? Because the model so nicely separates the bare particular from its clothing. | |
| From: David Kaplan (Transworld Heir Lines [1967], p.97) | |
| A reaction: See also Idea 11970. I think this observation is correct, and incredibly important. We need to keep quite separate the notion of identity in conceptual space from our notion of identity in the actual world. The first is bare, the second fat. |
| 11971 | The simplest solution to transworld identification is to adopt bare particulars [Kaplan] |
| Full Idea: If we adopt the bare particular metaphysical view, we have a simple solution to the transworld identification problem: we identify by bare particulars. | |
| From: David Kaplan (Transworld Heir Lines [1967], p.98) | |
| A reaction: See Ideas 11969 and 11970 on this idea. The problem with bare particulars is that they can change their properties utterly, so that Aristotle in the actual world can be a poached egg in some possible world. We need essences. |
| 11973 | Unusual people may have no counterparts, or several [Kaplan] |
| Full Idea: An extremely vivid person might have no counterparts, and Da Vinci seems to me to have more than one essence. Bertrand Russell is clearly the counterpart of at least three distinct persons in some more plausible world. | |
| From: David Kaplan (Transworld Heir Lines [1967], p.100) | |
| A reaction: Lewis prefers the notion that there is at most one counterpart, the 'closest' entity is some world. I think he also claims there is at least one counterpart. I like Kaplan's relaxed attitude to these things, which has more explanatory power. |
| 11972 | Essence is a transworld heir line, rather than a collection of properties [Kaplan] |
| Full Idea: I prefer to think of essence as a transworld heir line, rather than as the more familiar collection of properties, because the latter too much suggests the idea of a fixed and final essential description. | |
| From: David Kaplan (Transworld Heir Lines [1967], p.100) | |
| A reaction: He is sympathetic to the counterpart idea, and close to Lewis's view of essences, as the intersection of counterparts. I like his rebellion against fixed and final descriptions, but am a bit doubtful about his basic idea. Causation should be involved. |
| 11967 | Sentences might have the same sense when logically equivalent - or never have the same sense [Kaplan] |
| Full Idea: Among the proposals for conditions under which two sentences have the same ordinary sense, the most liberal (Carnap and Church) is that they be logically equivalent, and the most restrictive (Benson Mates) is that they never have the same sense. | |
| From: David Kaplan (Transworld Heir Lines [1967], p.89) | |
| A reaction: Personally I would move the discussion to the level of the propositions being expressed before I attempted a solution. |
| 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? |
| 7667 | There are two sides to men - the pleasantly social, and the violent and creative [Diderot, by Berlin] |
| Full Idea: Diderot is among the first to preach that there are two men: the artificial man, who belongs in society and seeks to please, and the violent, bold, criminal instinct of a man who wishes to break out (and, if controlled, is responsible for works of genius. | |
| From: report of Denis Diderot (works [1769], Ch.3) by Isaiah Berlin - The Roots of Romanticism | |
| A reaction: This has an obvious ancestor in Plato's picture (esp. in 'Phaedrus') of the two conflicting sides to the psuché, which seem to be reason and emotion. In Diderot, though, the suppressed man has virtues, which Plato would deny. |
| 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. |