17 ideas
| 18739 | Three stages of philosophical logic: syntactic (1905-55), possible worlds (1963-85), widening (1990-) [Horsten/Pettigrew] |
| Full Idea: Three periods can be distinguished in philosophical logic: the syntactic stage, from Russell's definite descriptions to the 1950s, the dominance of possible world semantics from the 50s to 80s, and a current widening of the subject. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 1) | |
| A reaction: [compressed] I've read elsewhere that the arrival of Tarski's account of truth in 1933, taking things beyond the syntactic, was also a landmark. |
| 18741 | Logical formalization makes concepts precise, and also shows their interrelation [Horsten/Pettigrew] |
| Full Idea: Logical formalization forces the investigator to make the central philosophical concepts precise. It can also show how some philosophical concepts and objects can be defined in terms of others. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 2) | |
| A reaction: This is the main rationale of the highly formal and mathematical approach to such things. The downside is when you impose 'precision' on language that was never intended to be precise. |
| 18744 | Models are sets with functions and relations, and truth built up from the components [Horsten/Pettigrew] |
| Full Idea: A (logical) model is a set with functions and relations defined on it that specify the denotation of the non-logical vocabulary. A series of recursive clauses explicate how truth values of complex sentences are compositionally determined from the parts. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 3) | |
| A reaction: See the ideas on 'Functions in logic' and 'Relations in logic' (in the alphabetical list) to expand this important idea. |
| 18740 | If 'exist' doesn't express a property, we can hardly ask for its essence [Horsten/Pettigrew] |
| Full Idea: If there is indeed no property of existence that is expressed by the word 'exist', then it makes no sense to ask for its essence. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 2) | |
| A reaction: As far as I can tell, this was exactly Aristotle's conclusion, so he skirted round the question of 'being qua being', and focused on the nature of objects instead. Grand continental talk of 'Being' doesn't sound very interesting. |
| 5998 | From the necessity of the past we can infer the impossibility of what never happens [Diod.Cronus, by White,MJ] |
| Full Idea: Diodorus' Master Argument inferred that since what is past (i.e. true in the past) is necessary, and the impossible cannot follow from the possible, that therefore if something neither is nor ever will be the case, then it is impossible. | |
| From: report of Diodorus Cronus (fragments/reports [c.300 BCE]) by Michael J. White - Diodorus Cronus | |
| A reaction: The argument is, apparently, no longer fully clear, but it seems to imply determinism, or at least a rejection of the idea that free will and determinism are compatible. (Epictetus 2.19) |
| 20832 | The Master Argument seems to prove that only what will happen is possible [Diod.Cronus, by Epictetus] |
| Full Idea: The Master Argument: these conflict 1) what is past and true is necessary, 2) the impossible does not follow from the possible, 3) something possible neither is nor will be true. Hence only that which is or will be true is possible. | |
| From: report of Diodorus Cronus (fragments/reports [c.300 BCE]) by Epictetus - The Discourses 2.19.1 | |
| A reaction: [Epictetus goes on to discuss views about which of the three should be given up] It is possible there will be a sea fight tomorrow; tomorrow comes, and no sea fight; so there was necessarily no sea fight; so the impossible followed from the possible. |
| 14304 | Conditionals are true when the antecedent is true, and the consequent has to be true [Diod.Cronus] |
| Full Idea: The connected (proposition) is true when it begins with true and neither could nor can end with false. | |
| From: Diodorus Cronus (fragments/reports [c.300 BCE]), quoted by Stephen Mumford - Dispositions 03.4 | |
| A reaction: [Mumford got the quote from Bochenski] This differs from the truth-functional account because it says nothing about when the antecedent is false, which fits in also with the 'supposition' view, where A is presumed. This idea adds necessity. |
| 18745 | A Tarskian model can be seen as a possible state of affairs [Horsten/Pettigrew] |
| Full Idea: A Tarskian model can in a sense be seen as a model of a possible state of affairs. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 3) | |
| A reaction: I include this remark to show how possible worlds semantics built on the arrival of model theory. |
| 18747 | The 'spheres model' was added to possible worlds, to cope with counterfactuals [Horsten/Pettigrew] |
| Full Idea: The notion of a possible worlds model was extended (resulting in the concept of a 'spheres model') in order to obtain a satisfactory logical treatment of counterfactual conditional sentences. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 4) | |
| A reaction: Thus we add 'centred' worlds, and an 'actual' world, to the loose original model. It is important to remember when we discuss 'close' worlds that we are then committed to these presuppositions. |
| 18748 | Epistemic logic introduced impossible worlds [Horsten/Pettigrew] |
| Full Idea: The idea of 'impossible worlds' was introduced into epistemic logic. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 4) | |
| A reaction: Nathan Salmon seems interested in their role in metaphysics (presumably in relation to Meinongian impossible objects, like circular squares, which must necessarily be circular). |
| 18746 | Possible worlds models contain sets of possible worlds; this is a large metaphysical commitment [Horsten/Pettigrew] |
| Full Idea: Each possible worlds model contains a set of possible worlds. For this reason, possible worlds semantics is often charged with smuggling in heavy metaphysical commitments. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 3) | |
| A reaction: To a beginner it looks very odd that you should try to explain possibility by constructing a model of it in terms of 'possible' worlds. |
| 18750 | Using possible worlds for knowledge and morality may be a step too far [Horsten/Pettigrew] |
| Full Idea: When the possible worlds semantics were further extended to model notions of knowledge and of moral obligation, the application was beginning to look distinctly forced and artificial. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 5) | |
| A reaction: They accept lots of successes in modelling necessity and time. |
| 6024 | Thought is unambiguous, and you should stick to what the speaker thinks they are saying [Diod.Cronus, by Gellius] |
| Full Idea: No one says or thinks anything ambiguous, and nothing should be held to be being said beyond what the speaker thinks he is saying. | |
| From: report of Diodorus Cronus (fragments/reports [c.300 BCE]) by Aulus Gellius - Noctes Atticae 11.12.2 | |
| A reaction: A key argument in favour of propositions, implied in this remark, is that propositions are never ambiguous, though the sentences expressing them may be |
| 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. |
| 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! |
| 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. |