14 ideas
| 7755 | Singular terms refer, using proper names, definite descriptions, singular personal pronouns, demonstratives, etc. [Lycan] |
| Full Idea: The paradigmatic referring devices are singular terms, denoting particular items. In English these include proper names, definite descriptions, singular personal pronouns, demonstrative pronouns, and a few others. | |
| From: William Lycan (Philosophy of Language [2000], Ch. 1) | |
| A reaction: This list provides the agenda for twentieth century philosophy of language, since this is the point where language is supposed to hook onto the world. |
| 2957 | Brain bisection suggests unity of mind isn't all-or-nothing [Nagel, by Lockwood] |
| Full Idea: Nagel argues (because of brain bisection experiments) that we should jettison our commonsense assumption that the unity of consciousness is an all-or-nothing affair. | |
| From: report of Thomas Nagel (Brain Bisection and Unity of Consciousness [1971]) by Michael Lockwood - Mind, Brain and the Quantum p.84 | |
| A reaction: It seems wrong to call it 'commonsense'. It is an assumption that precedes any judgement, but if you rapidly grasp that your mind is in your brain, it becomes common sense that you can cut lumps out of your mind. |
| 3285 | We may be unable to abandon personal identity, even when split-brains have undermined it [Nagel] |
| Full Idea: As a result of the evidence of split-brains, it is possible that the ordinary, simple idea of a single person will come to seem quaint some day, …but we may be unable to abandon the idea, no matter what we discover. | |
| From: Thomas Nagel (Brain Bisection and Unity of Consciousness [1971], p.164) | |
| A reaction: I'm not sure what grounds you can have for a claim that we can't abandon our current view of selves, even when the new reality will be utterly different. Rather conservative? I would expect future concepts to roughly match future reality. |
| 7768 | The truth conditions theory sees meaning as representation [Lycan] |
| Full Idea: The truth conditions theory sees meaning as representation. | |
| From: William Lycan (Philosophy of Language [2000], Ch. 9) | |
| A reaction: This suggests a nice connection to Fodor's account of intentional thinking. The whole package sounds right to me (though the representations need not be 'symbolic', or in mentalese). |
| 7766 | Meaning must be known before we can consider verification [Lycan] |
| Full Idea: How could we know whether a sentence is verifiable unless we already knew what it says? | |
| From: William Lycan (Philosophy of Language [2000], Ch. 8) | |
| A reaction: This strikes me as a devastating objection to verificationism. Lycan suggests that you can formulate a preliminary meaning, without accepting true meaningfulness. Maybe verification just concerns truth, and not meaning. |
| 7764 | Could I successfully use an expression, without actually understanding it? [Lycan] |
| Full Idea: Could I not know the use of an expression and fall in with it, mechanically, but without understanding it? | |
| From: William Lycan (Philosophy of Language [2000], Ch. 6) | |
| A reaction: In a foreign country, you might successfully recite a long complex sentence, without understanding a single word. This doesn't doom the 'use' theory, but it means that quite a lot of detail needs to be filled in. |
| 7763 | It is hard to state a rule of use for a proper name [Lycan] |
| Full Idea: Proper names pose a problem for the "use" theorist. Try stating a rule of use for the name 'William G. Lycan'. | |
| From: William Lycan (Philosophy of Language [2000], Ch. 6) | |
| A reaction: Presumably it is normally used in connection with a particular human being, and is typically the subject of a grammatical sentence. Any piece of language could also be used to, say, attract someone's attention. |
| 7770 | Truth conditions will come out the same for sentences with 'renate' or 'cordate' [Lycan] |
| Full Idea: A Davidsonian truth theory will not be able to distinguish the meaning of a sentence containing 'renate' from that of one containing 'cordate'. | |
| From: William Lycan (Philosophy of Language [2000], Ch. 9) | |
| A reaction: One might achieve the distinction by referring to truth conditions in possible worlds, if there are possible worlds where some cordates are not renate. See Idea 7773. |
| 7773 | A sentence's truth conditions is the set of possible worlds in which the sentence is true [Lycan] |
| Full Idea: A sentence's truth conditions can be taken to be the set of possible worlds in which the sentence is true. | |
| From: William Lycan (Philosophy of Language [2000], Ch.10) | |
| A reaction: Presumably the meaning can't be complete possible worlds, so this must be a supplement to the normal truth conditions view proposed by Davidson. It particularly addresses the problem seen in Idea 7770. |
| 7774 | Possible worlds explain aspects of meaning neatly - entailment, for example, is the subset relation [Lycan] |
| Full Idea: The possible worlds construal affords an elegant algebra of meaning by way of set theory: e.g. entailment between sentences is just the subset relation - S1 entails S2 if S2 is true in any world in which S1 is true. | |
| From: William Lycan (Philosophy of Language [2000], Ch.10) | |
| A reaction: We might want to separate the meanings of sentences from their entailments (though Brandom links them, see Idea 7765). |
| 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! |