18 ideas
| 13941 | Are the truth-bearers sentences, utterances, ideas, beliefs, judgements, propositions or statements? [Cartwright,R] |
| Full Idea: What is it that is susceptible of truth or falsity? The answers suggested constitute a bewildering variety: sentences, utterances, ideas, beliefs, judgments, propositions, statements. | |
| From: Richard Cartwright (Propositions [1962], 01) | |
| A reaction: Carwright's answer is 'statements', which seem to be the same as propositions. |
| 13942 | Logicians take sentences to be truth-bearers for rigour, rather than for philosophical reasons [Cartwright,R] |
| Full Idea: The current fashion among logicians of taking sentences to be the bearers of truth and falsity indicates less an agreement on philosophical theory than a desire for rigor and smoothness in calculative practice. | |
| From: Richard Cartwright (Propositions [1962], 01) | |
| A reaction: A remark close to my heart. Propositions are rejected first because language offers hope of answers, then because they seem metaphysically odd, and finally because you can't pin them down rigorously. But the blighters won't lie down and die. |
| 16641 | Whiteness does not exist, but by it something can exist-as-white [Aquinas] |
| Full Idea: Whiteness is said to exist not because it subsists in itself, but because by it something has existence-as-white. | |
| From: Thomas Aquinas (Quodlibeta [1267], IX.2.2), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 10.2 | |
| A reaction: It seems unavoidable to refer to the whiteness as 'it'. It might be called the 'adverbial' theory of properties, as ways of doing something. |
| 13945 | A token isn't a unique occurrence, as the case of a word or a number shows [Cartwright,R] |
| Full Idea: We cannot take a token of a word to be an occurrence of it. Suppose there is exactly one occurrence of the word 'etherized' in the whole of English poetry? Exactly one 'token'? This sort of occurrence is like the occurrence of a number in a sequence. | |
| From: Richard Cartwright (Propositions [1962], Add 2) | |
| A reaction: This remark is in an addendum to his paper, criticising his own lax use of the idea of 'token' in the actual paper. The example nicely shows that the type/token distinction isn't neat and tidy - though I consider it very useful. |
| 22170 | Senses grasp external properties, but the understanding grasps the essential natures of things [Aquinas] |
| Full Idea: Our imagination and senses grasp only the outer properties of things, not their natures. ...Understanding, however, grasps the very substance and nature of things, so that what is represented in understanding is a likeness of thing's very essence. | |
| From: Thomas Aquinas (Quodlibeta [1267], 8.2.2) | |
| A reaction: This is exactly the picture I endorse for modern science. Explanation is the path to understanding, and that must venture beyond immediate experience. |
| 22169 | Initial universal truths are present within us as potential, to be drawn out by reason [Aquinas] |
| Full Idea: For present in us by nature are certain initial truths everyone knows, in which lie potentially known conclusions our reasons can draw out and make actually known. | |
| From: Thomas Aquinas (Quodlibeta [1267], 8.2.2) | |
| A reaction: Note that these are truths rather than concepts, but that they have to be 'drawn out' by reason. This is Descartes' view of the matter, where the 'natural light' of reason is needed to articulate what is innate, such as geometry. |
| 22168 | Minds take in a likeness of things, which activates an awaiting potential [Aquinas] |
| Full Idea: What the mind takes in is not some material element of the agent, but a likeness of the agent actualising some potential the patient already has. This, for example, is the way our seeing takes in the colour of a coloured body. | |
| From: Thomas Aquinas (Quodlibeta [1267], 8.2.1) | |
| A reaction: This is exactly right. Descartes agreed. It works for colour, but not (obviously) for cheese graters. |
| 13950 | People don't assert the meaning of the words they utter [Cartwright,R] |
| Full Idea: No one ever asserts the meaning of the words he utters. | |
| From: Richard Cartwright (Propositions [1962], 12) | |
| A reaction: Cartwright is using this point to drive a wedge between sentence meaning and the assertion made by the utterance. Hence he defends propositions. Presumably people utilise word-meanings, rather than asserting them. Meanings (not words) are tools. |
| 13948 | For any statement, there is no one meaning which any sentence asserting it must have [Cartwright,R] |
| Full Idea: It does have to be acknowledged, I think, that every statement whatever is such that there is no one meaning which any sentence used to assert it must have. | |
| From: Richard Cartwright (Propositions [1962], 11) | |
| A reaction: This feels to me like a Gricean move - that what we are really interested in is communicating one mental state to another mental state, and there are all sorts of tools that can do that one job. |
| 13944 | We can pull apart assertion from utterance, and the action, the event and the subject-matter for each [Cartwright,R] |
| Full Idea: We need to distinguish 1) what is asserted, 2) that assertion, 3) asserting something, 4) what is predicated, 5) what is uttered, 6) that utterance, 7) uttering something, 8) the utterance token, and 9) the meaning. | |
| From: Richard Cartwright (Propositions [1962], 05-06) | |
| A reaction: [summary of his overall analysis in the paper] It is amazingly hard to offer a critical assessment of this sort of analysis, but it gives you a foot in the door for thinking about the issues with increasing clarity. |
| 13947 | 'It's raining' makes a different assertion on different occasions, but its meaning remains the same [Cartwright,R] |
| Full Idea: A person who utters 'It's raining' one day does not normally make the same statement as one who utters it the next. But these variations are not accompanied by corresponding changes of meaning. The words 'It's raining' retain the same meaning throughout. | |
| From: Richard Cartwright (Propositions [1962], 10) | |
| A reaction: This is important, because it shows that a proposition is not just the mental shadow behind a sentence, or a mental shadow awaiting a sentence. Unlike a sentence, a proposition can (and possibly must) include its own context. Very interesting! |
| 13943 | We can attribute 'true' and 'false' to whatever it was that was said [Cartwright,R] |
| Full Idea: We do sometimes say of something to which we have referred that it is true (or false). Are we not ordinarily doing just this when we utter such sentences as 'That's true' and 'What he said was false'? | |
| From: Richard Cartwright (Propositions [1962], 03) | |
| A reaction: This supports propositions, but doesn't clinch the matter. One could interpret this phenomenon as always being (implicitly) the reference of one sentence to another. However, I remember what he said, but I can't remember how he said it. |
| 13946 | To assert that p, it is neither necessary nor sufficient to utter some particular words [Cartwright,R] |
| Full Idea: In order to assert that p it is not necessary to utter exactly those words. ...Clearly, also, in order to assert that p, it is not sufficient to utter the words that were actually uttered. | |
| From: Richard Cartwright (Propositions [1962], 07) | |
| A reaction: I take the first point to be completely obvious (you can assert one thing with various wordings), and the second seems right after a little thought (the words could be vague, ambiguous, inaccurate, contextual) |
| 13951 | Assertions, unlike sentence meanings, can be accurate, probable, exaggerated, false.... [Cartwright,R] |
| Full Idea: Whereas what is asserted can be said to be accurate, exaggerated, unfounded, overdrawn, probable, improbable, plausible, true, or false, none of these can be said of the meaning of a sentence. | |
| From: Richard Cartwright (Propositions [1962], 12) | |
| A reaction: That fairly firmly kicks into touch the idea that the assertion is the same as the meaning of the sentence. |
| 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! |