32 ideas
| 18806 | Frege thought traditional categories had psychological and linguistic impurities [Frege, by Rumfitt] |
| Full Idea: Frege rejected the traditional categories as importing psychological and linguistic impurities into logic. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by Ian Rumfitt - The Boundary Stones of Thought 1.2 | |
| A reaction: Resisting such impurities is the main motivation for making logic entirely symbolic, but it doesn't follow that the traditional categories have to be dropped. |
| 8490 | First-level functions have objects as arguments; second-level functions take functions as arguments [Frege] |
| Full Idea: Just as functions are fundamentally different from objects, so also functions whose arguments are and must be functions are fundamentally different from functions whose arguments are objects. The latter are first-level, the former second-level, functions. | |
| From: Gottlob Frege (Function and Concept [1891], p.38) | |
| A reaction: In 1884 he called it 'second-order'. This is the standard distinction between first- and second-order logic. The first quantifies over objects, the second over intensional entities such as properties and propositions. |
| 8492 | Relations are functions with two arguments [Frege] |
| Full Idea: Functions of one argument are concepts; functions of two arguments are relations. | |
| From: Gottlob Frege (Function and Concept [1891], p.39) | |
| A reaction: Nowadays we would say 'two or more'. Another interesting move in the aim of analytic philosophy to reduce the puzzling features of the world to mathematical logic. There is, of course, rather more to some relations than being two-argument functions. |
| 8487 | Arithmetic is a development of logic, so arithmetical symbolism must expand into logical symbolism [Frege] |
| Full Idea: I am of the opinion that arithmetic is a further development of logic, which leads to the requirement that the symbolic language of arithmetic must be expanded into a logical symbolism. | |
| From: Gottlob Frege (Function and Concept [1891], p.30) | |
| A reaction: This may the the one key idea at the heart of modern analytic philosophy (even though logicism may be a total mistake!). Logic and arithmetical foundations become the master of ontology, instead of the servant. The jury is out on the whole enterprise. |
| 18899 | Frege takes the existence of horses to be part of their concept [Frege, by Sommers] |
| Full Idea: Frege regarded the existence of horses as a property of the concept 'horse'. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by Fred Sommers - Intellectual Autobiography 'Realism' |
| 4028 | Frege allows either too few properties (as extensions) or too many (as predicates) [Mellor/Oliver on Frege] |
| Full Idea: Frege's theory of properties (which he calls 'concepts') yields too few properties, by identifying coextensive properties, and also too many, by letting every predicate express a property. | |
| From: comment on Gottlob Frege (Function and Concept [1891]) by DH Mellor / A Oliver - Introduction to 'Properties' §2 | |
| A reaction: Seems right; one extension may have two properties (have heart/kidneys), two predicates might express the same property. 'Cutting nature at the joints' covers properties as well as objects. |
| 8489 | The concept 'object' is too simple for analysis; unlike a function, it is an expression with no empty place [Frege] |
| Full Idea: I regard a regular definition of 'object' as impossible, since it is too simple to admit of logical analysis. Briefly: an object is anything that is not a function, so that an expression for it does not contain any empty place. | |
| From: Gottlob Frege (Function and Concept [1891], p.32) | |
| A reaction: Here is the core of the programme for deriving our ontology from our logic and language, followed through by Russell and Quine. Once we extend objects beyond the physical, it becomes incredibly hard to individuate them. |
| 3102 | Why don't we experience or remember going to sleep at night? [Magee] |
| Full Idea: As a child it was incomprehensible to me that I did not experience going to sleep, and never remembered it. When my sister said 'Nobody remembers that', I just thought 'How does she know?' | |
| From: Bryan Magee (Confessions of a Philosopher [1997], Ch.I) | |
| A reaction: This is actually evidence for something - that we do not have some sort of personal identity which is separate from consciousness, so that "I am conscious" would literally mean that an item has a property, which it can lose. |
| 9947 | Concepts are the ontological counterparts of predicative expressions [Frege, by George/Velleman] |
| Full Idea: Concepts, for Frege, are the ontological counterparts of predicative expressions. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by A.George / D.J.Velleman - Philosophies of Mathematics Ch.2 | |
| A reaction: That sounds awfully like what many philosophers call 'universals'. Frege, as a platonist (at least about numbers), I would take to be in sympathy with that. At least we can say that concepts seem to be properties. |
| 10319 | An assertion about the concept 'horse' must indirectly speak of an object [Frege, by Hale] |
| Full Idea: Frege had a notorious difficulty over the concept 'horse', when he suggests that if we wish to assert something about a concept, we are obliged to proceed indirectly by speaking of an object that represents it. | |
| From: report of Gottlob Frege (Function and Concept [1891], Ch.2.II) by Bob Hale - Abstract Objects | |
| A reaction: This sounds like the thin end of a wedge. The great champion of objects is forced to accept them here as a façon de parler, when elsewhere they have ontological status. |
| 8488 | A concept is a function whose value is always a truth-value [Frege] |
| Full Idea: A concept in logic is closely connected with what we call a function. Indeed, we may say at once: a concept is a function whose value is always a truth-value. ..I give the name 'function' to what is meant by the 'unsaturated' part. | |
| From: Gottlob Frege (Function and Concept [1891], p.30) | |
| A reaction: So a function becomes a concept when the variable takes a value. Problems arise when the value is vague, or the truth-value is indeterminable. |
| 9948 | Unlike objects, concepts are inherently incomplete [Frege, by George/Velleman] |
| Full Idea: For Frege, concepts differ from objects in being inherently incomplete in nature. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by A.George / D.J.Velleman - Philosophies of Mathematics Ch.2 | |
| A reaction: This is because they are 'unsaturated', needing a quantified variable to complete the sentence. This could be a pointer towards Quine's view of properties, as simply an intrinsic feature of predication about objects, with no separate identity. |
| 4972 | I may regard a thought about Phosphorus as true, and the same thought about Hesperus as false [Frege] |
| Full Idea: From sameness of meaning there does not follow sameness of thought expressed. A fact about the Morning Star may express something different from a fact about the Evening Star, as someone may regard one as true and the other false. | |
| From: Gottlob Frege (Function and Concept [1891], p.14) | |
| A reaction: This all gets clearer if we distinguish internalist and externalist theories of content. Why take sides on this? Why not just ask 'what is in the speaker's head?', 'what does the sentence mean in the community?', and 'what is the corresponding situation?' |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 8491 | The Ontological Argument fallaciously treats existence as a first-level concept [Frege] |
| Full Idea: The ontological proof of God's existence suffers from the fallacy of treating existence as a first-level concept. | |
| From: Gottlob Frege (Function and Concept [1891], p.38 n) | |
| A reaction: [See Idea 8490 for first- and second-order functions] This is usually summarised as the idea that existence is a quantifier rather than a predicate. |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |