10 ideas
| 13857 | Truth-functional possibilities include the irrelevant, which is a mistake [Edgington] |
| Full Idea: How likely is a fair die landing on an even number to land six? My approach is, assume an even number, so three possibilities, one a six, so 'one third'; the truth-functional approach is it's true if it is not-even or six, so 'two-thirds'. | |
| From: Dorothy Edgington (Do Conditionals Have Truth Conditions? [1986], 3) | |
| A reaction: The point is that in the truth-functional approach, if the die lands not-even, then the conditional comes out as true, when she says it should be irrelevant. She seems to be right about this. |
| 13853 | It is a mistake to think that conditionals are statements about how the world is [Edgington] |
| Full Idea: The mistake philosophers have made, in trying to understand the conditional, is to assume that its function is to make a statement about how the world is (or how other possible worlds are related to it), true or false, as the case may be. | |
| From: Dorothy Edgington (Do Conditionals Have Truth Conditions? [1986], 1) | |
| A reaction: 'If pigs could fly we would never catch them' may not be about the world, but 'if you press this switch the light comes on' seems to be. Actually even the first one is about the world. I've an inkling that Edgington is wrong about this. Powers! |
| 13855 | A conditional does not have truth conditions [Edgington] |
| Full Idea: A conditional does not have truth conditions. | |
| From: Dorothy Edgington (Do Conditionals Have Truth Conditions? [1986], 1) |
| 13859 | X believes 'if A, B' to the extent that A & B is more likely than A & ¬B [Edgington] |
| Full Idea: X believes that if A, B, to the extent that he judges that A & B is nearly as likely as A, or (roughly equivalently) to the extent that he judges A & B to be more likely than A & ¬B. | |
| From: Dorothy Edgington (Do Conditionals Have Truth Conditions? [1986], 5) | |
| A reaction: This is a formal statement of her theory of conditionals. |
| 13854 | Conditionals express what would be the outcome, given some supposition [Edgington] |
| Full Idea: It is often necessary to suppose (or assume) that some epistemic possibility is true, and to consider what else would be the case, or would be likely to be the case, given this supposition. The conditional expresses the outcome of such thought processes. | |
| From: Dorothy Edgington (Do Conditionals Have Truth Conditions? [1986], 1) | |
| A reaction: This is the basic Edgington view. It seems to involve an active thought process, and imagination, rather than being the static semantic relations offered by possible worlds analyses. True conditionals state relationships in the world. |
| 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. |
| 1558 | Clearly the gods ignore human affairs, or they would have given us justice [Thrasymachus] |
| Full Idea: The gods pay no attention to human affairs; if they did, they would not have ignored justice, which is the greatest good for men; for we see that men do not act with justice. | |
| From: Thrasymachus (fragments/reports [c.426 BCE], B8), quoted by Hermias - Notes on Plato's 'Phaedrus' 239.22 |