7 ideas
| 6782 | Realism is the only philosophy of science that doesn't make the success of science a miracle [Putnam] |
| Full Idea: Realism….is the only philosophy science which does not make the success of science a miracle. | |
| From: Hilary Putnam (works [1980]), quoted by Alexander Bird - Philosophy of Science Ch.4 | |
| A reaction: This was from his earlier work; he became more pragmatist and anti-realist later. Personally I approve of the remark. The philosophy of science must certainly offer an explanation for its success. Truth seems the obvious explanation. |
| 17783 | A number is not a multitude, but a unified ratio between quantities [Newton] |
| Full Idea: By a Number we understand not so much a Multitude of Unities, as the abstracted Ratio of any Quantity to another Quantity of the same Kind, which we take for unity. | |
| From: Isaac Newton (Universal Arithmetick [1669]), quoted by John Mayberry - What Required for Foundation for Maths? p.407-2 | |
| A reaction: This needs a metaphysics of 'kinds' (since lines can't have ratios with solids). Presumably Newton wants the real numbers to be more basic than the natural numbers. This is the transition from Greek to modern. |
| 22181 | Putnam says anti-realism is a bad explanation of accurate predictions [Putnam, by Okasha] |
| Full Idea: Putnam's 'no miracle' argument says that being an anti-realist is akin to believing in miracles (because of the accurate predictons). …It is a plausibility argument - an inference to the best explanation. | |
| From: report of Hilary Putnam (works [1980]) by Samir Okasha - Philosophy of Science: Very Short Intro (2nd ed) 4 | |
| A reaction: [not sure of ref] Putnam later backs off from this argument, but my personal realism rests on best explanation. Does anyone want to prefer an inferior explanation? The objection is that successful theories can turn out to be false. Phlogiston, ether. |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |