16 ideas
| 13451 | The two best understood conceptions of set are the Iterative and the Limitation of Size [Rayo/Uzquiano] |
| Full Idea: The two best understood conceptions of set are the Iterative Conception and the Limitation of Size Conception. | |
| From: Rayo,A/Uzquiasno,G (Introduction to 'Absolute Generality' [2006], 1.2.2) |
| 13452 | Some set theories give up Separation in exchange for a universal set [Rayo/Uzquiano] |
| Full Idea: There are set theories that countenance exceptions to the Principle of Separation in exchange for a universal set. | |
| From: Rayo,A/Uzquiasno,G (Introduction to 'Absolute Generality' [2006], 1.2.2) |
| 13449 | We could have unrestricted quantification without having an all-inclusive domain [Rayo/Uzquiano] |
| Full Idea: The possibility of unrestricted quantification does not immediately presuppose the existence of an all-inclusive domain. One could deny an all-inclusive domain but grant that some quantifications are sometimes unrestricted. | |
| From: Rayo,A/Uzquiasno,G (Introduction to 'Absolute Generality' [2006], 1.1) | |
| A reaction: Thus you can quantify over anything you like, but only from what is available. Eat what you like (in this restaurant). |
| 13450 | Absolute generality is impossible, if there are indefinitely extensible concepts like sets and ordinals [Rayo/Uzquiano] |
| Full Idea: There are doubts about whether absolute generality is possible, if there are certain concepts which are indefinitely extensible, lacking definite extensions, and yielding an ever more inclusive hierarchy. Sets and ordinals are paradigm cases. | |
| From: Rayo,A/Uzquiasno,G (Introduction to 'Absolute Generality' [2006], 1.2.1) |
| 13453 | Perhaps second-order quantifications cover concepts of objects, rather than plain objects [Rayo/Uzquiano] |
| Full Idea: If one thought of second-order quantification as quantification over first-level Fregean concepts [note: one under which only objects fall], talk of domains might be regimented as talk of first-level concepts, which are not objects. | |
| From: Rayo,A/Uzquiasno,G (Introduction to 'Absolute Generality' [2006], 1.2.2) | |
| A reaction: That is (I take it), don't quantify over objects, but quantify over concepts, but only those under which known objects fall. One might thus achieve naïve comprehension without paradoxes. Sound like fun. |
| 12608 | Concepts are distinguished by roles in judgement, and are thus tied to rationality [Peacocke] |
| Full Idea: 'Concept' is a notion tied, in the classical Fregean manner, to cognitive significance. Concepts are distinct if we can judge rationally of one, without the other. Concepts are constitutively and definitionally tied to rationality in this way. | |
| From: Christopher Peacocke (Truly Understood [2008], 2.2) | |
| A reaction: It seems to a bit optimistic to say, more or less, that thinking is impossible if it isn't rational. Rational beings have been selected for. As Quine nicely observed, duffers at induction have all been weeded out - but they may have existed, briefly. |
| 12605 | A sense is individuated by the conditions for reference [Peacocke] |
| Full Idea: My basic Fregean idea is that a sense is individuated by the fundamental condition for something to be its reference. | |
| From: Christopher Peacocke (Truly Understood [2008], Intro) | |
| A reaction: For something to actually be its reference (as opposed to imagined reference), truth must be involved. This needs the post-1891 Frege view of such things, and not just the view of concepts as functions which he started with. |
| 12607 | Fregean concepts have their essence fixed by reference-conditions [Peacocke] |
| Full Idea: The Fregean view is that the essence of a concept is given by the fundamental condition for something to be its reference. | |
| From: Christopher Peacocke (Truly Understood [2008], 2.1) | |
| A reaction: Peacocke is a supporter of the Fregean view. How does this work for concepts of odd creatures in a fantasy novel? Or for mistaken or confused concepts? For Burge's 'arthritis in my thigh'? I don't reject the Fregean view. |
| 12609 | Concepts have distinctive reasons and norms [Peacocke] |
| Full Idea: For each concept, there will be some reasons or norms distinctive of that concept. | |
| From: Christopher Peacocke (Truly Understood [2008], 2.3) | |
| A reaction: This is Peacocke's bold Fregean thesis (and it sounds rather Kantian to me). I dislike the word 'norms' (long story), but reasons are interesting. The trouble is the distinction between being a reason for something (its cause) and being a reason for me. |
| 12604 | Any explanation of a concept must involve reference and truth [Peacocke] |
| Full Idea: For some particular concept, we can argue that some of its distinctive features are adequately explained only by a possession-condition that involves reference and truth essentially. | |
| From: Christopher Peacocke (Truly Understood [2008], Intro) | |
| A reaction: He reached this view via the earlier assertion that it is the role in judgement which key to understanding concepts. I like any view of such things which says that truth plays a role. |
| 12610 | Encountering novel sentences shows conclusively that meaning must be compositional [Peacocke] |
| Full Idea: The phenomenon of understanding sentences one has never encountered before is decisive against theories of meaning which do not proceed compositionally. | |
| From: Christopher Peacocke (Truly Understood [2008], 4.3) | |
| A reaction: I agree entirely. It seems obvious, as soon as you begin to slowly construct a long and unusual sentence, and follow the mental processes of the listener. |
| 13448 | The domain of an assertion is restricted by context, either semantically or pragmatically [Rayo/Uzquiano] |
| Full Idea: We generally take an assertion's domain of discourse to be implicitly restricted by context. [Note: the standard approach is that this restriction is a semantic phenomenon, but Kent Bach (2000) argues that it is a pragmatic phenomenon] | |
| From: Rayo,A/Uzquiasno,G (Introduction to 'Absolute Generality' [2006], 1.1) | |
| A reaction: I think Kent Bach is very very right about this. Follow any conversation, and ask what the domain is at any moment. The reference of a word like 'they' can drift across things, with no semantics to guide us, but only clues from context and common sense. |
| 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! |