42 ideas
| 2352 | The job of the philosopher is to distinguish facts about the world from conventions [Putnam] |
| Full Idea: It is the job of the philosopher to distinguish what is fact and what is convention in our theorising about the world. | |
| From: Hilary Putnam (Representation and Reality [1988], §7 p.112) | |
| A reaction: This may well be the entire truth about philosophy. It begins with the Nomos-Physis debate in ancient Athens, and it turns out to be the key issue in almost every area of metaphysics, epistemology, aesthetics and morality. |
| 2345 | Semantic notions do not occur in Tarski's definitions, but assessing their correctness involves translation [Putnam] |
| Full Idea: Although no semantic notions are used in Tarski's truth definitions themselves, they are used in deciding when such a definition is correct, namely the notion of translation. | |
| From: Hilary Putnam (Representation and Reality [1988], §4 p.66) |
| 2347 | Asserting the truth of an indexical statement is not the same as uttering the statement [Putnam] |
| Full Idea: If you say "I am going to drive this car", and I say "That's true", that is very different from my saying "I am going to drive this car". | |
| From: Hilary Putnam (Representation and Reality [1988], §4 p.68) |
| 2349 | Realists believe truth is correspondence, independent of humans, is bivalent, and is unique [Putnam] |
| Full Idea: Metaphysical realism about truth is a bundle of ideas: that it is a matter of Correspondence, that it exhibits Independence (of humans), Bivalence, and Uniqueness (there is only one ultimate truth). | |
| From: Hilary Putnam (Representation and Reality [1988], §7 p.107) |
| 2351 | Aristotle says an object (e.g. a lamp) has identity if its parts stay together when it is moved [Putnam] |
| Full Idea: The parts of a lamp stay together when it is moved (which is one of Aristotle's criteria for objecthood). | |
| From: Hilary Putnam (Representation and Reality [1988], §7 p.110) | |
| A reaction: Metaphysics 1052a26 (just after the cross-reference) says a thing may be unified 'if its movement is single'. |
| 22363 | You have only begun to do real science when you can express it in numbers [Kelvin] |
| Full Idea: When you cannot express it in numbers, your knowledge is of a meagre and unsatisfactory kind; it may be the beginning of knowledge, but you have scarcely, in your thoughts, advanced to the stage of science, whatever the matter may be. | |
| From: Lord Kelvin (Wm Thomson) (works [1881]), quoted by Reiss,J/Spreger,J - Scientific Objectivity 4.1 | |
| A reaction: [Popular Lectures 1 p.73] Clearly the writer is a physicist! Astronomers discover objects, geologists discover structures, biologists reveal mechanisms. |
| 2331 | Functionalism says robots and people are the same at one level of abstraction [Putnam] |
| Full Idea: My "functionalism" insisted that a robot, a human being, a silicon creature and a disembodied spirit could all work much the same way when described at the relevant level of abstraction, and it is wrong to think the essence of mind is hardware. | |
| From: Hilary Putnam (Representation and Reality [1988], Int p.xii) | |
| A reaction: This is the key point about the theory - that it is an abstract theory of mind, saying nothing about substances. It drew, however, some misguided criticisms suggesting silly implementations. |
| 2071 | If concepts have external meaning, computational states won't explain psychology [Putnam] |
| Full Idea: Computational models of the brain/mind will not suffice for cognitive psychology. We cannot individuate concepts and beliefs without reference to the environment. Meanings aren't "in the head". | |
| From: Hilary Putnam (Representation and Reality [1988], p.73) | |
| A reaction: Mr Functionalism quits! |
| 2332 | Functionalism can't explain reference and truth, which are needed for logic [Putnam] |
| Full Idea: Functionalism has as much trouble with physical accounts of reference as of meaning. Reference is the main tool used in formal theories of truth. But 'truth' isn't folk psychology, it is central to logic, which everyone wants. | |
| From: Hilary Putnam (Representation and Reality [1988], Int p.xiv) | |
| A reaction: All logic is defined in terms of truth and falsehood resulting from reasoning, but it could be that 'true' and 'false' have no more content that 1 and 0 in binary electronics. They are distinct, but empty. |
| 2348 | Is there just one computational state for each specific belief? [Putnam] |
| Full Idea: The idea that there is one computational state that every being who believes that there are lots of cats in the neighbourhood is in must be false. | |
| From: Hilary Putnam (Representation and Reality [1988], §5 p.84) | |
| A reaction: It is tempting to say that the mental states of such people must have SOMETHING in common, until you realise that all you can specify is that all their states are about cats. |
| 2344 | If we are going to eliminate folk psychology, we must also eliminate folk logic [Putnam] |
| Full Idea: Why don't the eliminationists speak of "folk logic" as well as "folk psychology"? | |
| From: Hilary Putnam (Representation and Reality [1988], §4 p.60) | |
| A reaction: I think Putnam considers that if you can prove 'truth' to be a necessary feature of mental life, that connects mind and world, but marking a sentence as 'T' doesn't make any connections. |
| 2074 | Can we give a scientific, computational account of folk psychology? [Putnam] |
| Full Idea: The desire that grips Fodor, as it once gripped me, is the desire to make belief-desire psychology "scientific" by simply identifying it outright with computational psychology. | |
| From: Hilary Putnam (Representation and Reality [1988], p.7) | |
| A reaction: An "outright" identification looks very implausible. It seems that we should accept that belief-desire psychology is a very good guide to normal brain events, but a bad guide to unusual brain events. See Ideas 2987 and 7519. |
| 2343 | Reference may be different while mental representation is the same [Putnam] |
| Full Idea: The 'mental representations' of Earth speakers and Twin Earth speakers were not in any way different; the reference was different because the substances were different. Reference is fixed by the environment itself. | |
| From: Hilary Putnam (Representation and Reality [1988], §2 p.32) | |
| A reaction: There seems to be an elementary distinction here between what you think you are referring to, and what you are in fact referring to. "That man is the Prince of Wales" (pointing at the butler). |
| 2346 | Meaning and translation (which are needed to define truth) both presuppose the notion of reference [Putnam] |
| Full Idea: The notion of meaning, and hence of translation (needed to define truth), presupposes the notion of reference. | |
| From: Hilary Putnam (Representation and Reality [1988], §4 p.67) | |
| A reaction: It is plausible to see reference as the fundamental notion of language. With no anchors in reality, language would be 'private', in LW's sense. |
| 2354 | "Meaning is use" is not a definition of meaning [Putnam] |
| Full Idea: "Meaning is use" is not a definition of meaning. | |
| From: Hilary Putnam (Representation and Reality [1988], §7 p.119) | |
| A reaction: I agree. It probably fails to define meaning because it is false. A corkscrew is not the action of opening a wine bottle. |
| 2336 | Holism seems to make fixed definition more or less impossible [Putnam] |
| Full Idea: Holism immediately suggests that most terms cannot be defined, at least not in a way that is fixed once and for all. | |
| From: Hilary Putnam (Representation and Reality [1988], §1 p.09) | |
| A reaction: Perhaps there exists a single perfect definition for each holistic system, only graspable by a transcendent intellect. Or why can't there be a matching holistic system of definitions? |
| 2334 | Meaning holism tried to show that you can't get fixed meanings built out of observation terms [Putnam] |
| Full Idea: The doctrine of Quine called "meaning holism" offered arguments refuting logical positivist attempts to show that every term we can understand can be defined using a limited group of "observation terms". | |
| From: Hilary Putnam (Representation and Reality [1988], §1 p.08) | |
| A reaction: To seems a rather large jump from saying that sentences come in groups to full-blown 'holism' (involving every sentence). |
| 2335 | Understanding a sentence involves background knowledge and can't be done in isolation [Putnam] |
| Full Idea: If I say "Hawks fly", I do not intend my hearer to deduce that a hawk with a broken wing will fly. What we expect depends on the whole network of belief. Language describes experience as a network, not sentence by sentence. | |
| From: Hilary Putnam (Representation and Reality [1988], §1 p.09) | |
| A reaction: The shortcut through this is 'exactly what did you mean when you said "Hawks fly"?'. That is, get me closer to your proposition. |
| 2340 | We should separate how the reference of 'gold' is fixed from its conceptual content [Putnam] |
| Full Idea: The effect of my account, as of Kripke's, is to separate the question of how the reference of terms such as 'gold' is fixed from the question of their conceptual content. | |
| From: Hilary Putnam (Representation and Reality [1988], §2 p.38) | |
| A reaction: Too simple. 'Gold' isn't a proper name, like 'Hilary', which needs no more content than a serial number. Baptising a gold sample needs much more information than baptising a person. |
| 2341 | Like names, natural kind terms have their meaning fixed by extension and reference [Putnam] |
| Full Idea: It seems that the dominant "component" of natural kind words is the extension. The referential factor does almost all the work, and natural kind terms resemble names. | |
| From: Hilary Putnam (Representation and Reality [1988], §3 p.49) | |
| A reaction: My concept of 'tiger' does not mainly consist of the tigers. Does the concept contract as the tiger population dwindles? Prototypes, exemplars etc. See 'Concepts' |
| 2338 | Reference (say to 'elms') is a social phenomenon which we can leave to experts [Putnam] |
| Full Idea: Reference is a social phenomenon. Individual speakers do not have to know how to distinguish robins, or elms, or aluminium. They can always rely on experts to do this for them. | |
| From: Hilary Putnam (Representation and Reality [1988], §2 p.22) | |
| A reaction: It can't just be a social phenomenon. The experts don't just enquire about standard usage, or defer to Hilary Putnam. |
| 2339 | Aristotle implies that we have the complete concepts of a language in our heads, but we don't [Putnam] |
| Full Idea: What is wrong with the Aristotelian picture (of meaning and reference based on concepts) is that it suggest that everything that is necessary for the use of language is stored in each individual mind, but no individual language works this way. | |
| From: Hilary Putnam (Representation and Reality [1988], §2 p.25) | |
| A reaction: Languages must partly work that way. You can't talk without a conceptual storehouse. In a small society I would expect every adult to know the full vocabulary. |
| 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. |
| 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. |
| 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! |
| 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. |
| 2342 | "Water" is a natural kind term, but "H2O" is a description [Putnam] |
| Full Idea: "Water" functions as a natural kind term, but "H2O" is a description, synonymous with an account of its atoms. | |
| From: Hilary Putnam (Representation and Reality [1988], §3 p.50) |
| 20644 | Energy has progressed from a mere formula, to a principle pervading all nature [Kelvin] |
| Full Idea: The name 'energy', first used by Thomas Young, has come into use after it was raised from a mere formula of mathematical dynamics to become a principle pervading all nature, and guiding every field of science. | |
| From: Lord Kelvin (Wm Thomson) (works [1881]), quoted by Peter Watson - Convergence 01 'Principle' | |
| A reaction: [bit compressed] As far as I can see energy behaves exactly as if it were a substance, like water conserved in rainfalls, and yet it isn't a stuff, and seems to result from a process of abstraction. I take it to be one of the biggest mysteries in physics. |
| 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? |