10 ideas
| 10779 | A comprehension axiom is 'predicative' if the formula has no bound second-order variables [Linnebo] |
| Full Idea: If φ contains no bound second-order variables, the corresponding comprehension axiom is said to be 'predicative'; otherwise it is 'impredicative'. | |
| From: Øystein Linnebo (Plural Quantification Exposed [2003], §1) | |
| A reaction: ['Predicative' roughly means that a new predicate is created, and 'impredicative' means that it just uses existing predicates] |
| 10781 | A 'pure logic' must be ontologically innocent, universal, and without presuppositions [Linnebo] |
| Full Idea: I offer these three claims as a partial analysis of 'pure logic': ontological innocence (no new entities are introduced), universal applicability (to any realm of discourse), and cognitive primacy (no extra-logical ideas are presupposed). | |
| From: Øystein Linnebo (Plural Quantification Exposed [2003], §1) |
| 10783 | Plural quantification depends too heavily on combinatorial and set-theoretic considerations [Linnebo] |
| Full Idea: If my arguments are correct, the theory of plural quantification has no right to the title 'logic'. ...The impredicative plural comprehension axioms depend too heavily on combinatorial and set-theoretic considerations. | |
| From: Øystein Linnebo (Plural Quantification Exposed [2003], §4) |
| 10778 | Can second-order logic be ontologically first-order, with all the benefits of second-order? [Linnebo] |
| Full Idea: According to its supporters, second-order logic allow us to pay the ontological price of a mere first-order theory and get the corresponding monadic second-order theory for free. | |
| From: Øystein Linnebo (Plural Quantification Exposed [2003], §0) |
| 10782 | The modern concept of an object is rooted in quantificational logic [Linnebo] |
| Full Idea: Our modern general concept of an object is given content only in connection with modern quantificational logic. | |
| From: Øystein Linnebo (Plural Quantification Exposed [2003], §2) | |
| A reaction: [He mentions Frege, Carnap, Quine and Dummett] This is the first thing to tell beginners in modern analytical metaphysics. The word 'object' is very confusing. I think I prefer 'entity'. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 9762 | We should focus less on subjects of experience, and more on the experiences themselves [Parfit] |
| Full Idea: It becomes more plausible, when thinking morally, to focus less upon the person, the subject of experiences, and instead to focus more upon the experiences themselves. | |
| From: Derek Parfit (Reasons and Persons [1984], §116) | |
| A reaction: This pinpoints how Parfit moves from a view of persons in terms of continuity of consciousness to a utilitarian morality. It brings out nicely what is wrong with utilitarianism - the reductio of a great ball of nice experiences, with no one having them. |