11 ideas
| 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. |
| 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. |
| 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! |
| 22485 | Non-cognitivists give the conditions of use of moral sentences as facts about the speaker [Foot] |
| Full Idea: What all these [non-cognitivist] theories try to do is to give the conditions of use of sentences such as 'It is morally objectionable to break promises', in terms of something which must be true about the speaker. | |
| From: Philippa Foot (Does Moral Subjectivism Rest on a Mistake? [1995], p.192) | |
| A reaction: A wonderfully simple and accurate analysis of this view. Compare analysing 'there is a bus coming towards you' in the same way. Sounds silly, but lots of modern philosophers see things that way. |
| 22486 | The mistake is to think good grounds aren't enough for moral judgement, which also needs feelings [Foot] |
| Full Idea: The mistake is to think that whatever 'grounds' for a moral judgement may have been given, someone may be unready, indeed unable, to make the moral judgement, because he has not got the attitude or feeling. | |
| From: Philippa Foot (Does Moral Subjectivism Rest on a Mistake? [1995], p.192) | |
| A reaction: This is roughly the Frege-Geach problem for expressivism, of how we still make moral judgements about situations where we ourselves are entirely disinterested (such as ancient historical events). |
| 22487 | Moral arguments are grounded in human facts [Foot] |
| Full Idea: The grounding of a moral argument is ultimately in facts about human life. | |
| From: Philippa Foot (Does Moral Subjectivism Rest on a Mistake? [1995], p.207) | |
| A reaction: The best slogan I can find for summarising Foot's metaethics. The facts she refers to the basic human needs. She is right, and this almost bridges the fact-value divide (as long as you give a damn about human needs). |