22 ideas
| 18739 | Three stages of philosophical logic: syntactic (1905-55), possible worlds (1963-85), widening (1990-) [Horsten/Pettigrew] |
| Full Idea: Three periods can be distinguished in philosophical logic: the syntactic stage, from Russell's definite descriptions to the 1950s, the dominance of possible world semantics from the 50s to 80s, and a current widening of the subject. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 1) | |
| A reaction: [compressed] I've read elsewhere that the arrival of Tarski's account of truth in 1933, taking things beyond the syntactic, was also a landmark. |
| 18741 | Logical formalization makes concepts precise, and also shows their interrelation [Horsten/Pettigrew] |
| Full Idea: Logical formalization forces the investigator to make the central philosophical concepts precise. It can also show how some philosophical concepts and objects can be defined in terms of others. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 2) | |
| A reaction: This is the main rationale of the highly formal and mathematical approach to such things. The downside is when you impose 'precision' on language that was never intended to be precise. |
| 18744 | Models are sets with functions and relations, and truth built up from the components [Horsten/Pettigrew] |
| Full Idea: A (logical) model is a set with functions and relations defined on it that specify the denotation of the non-logical vocabulary. A series of recursive clauses explicate how truth values of complex sentences are compositionally determined from the parts. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 3) | |
| A reaction: See the ideas on 'Functions in logic' and 'Relations in logic' (in the alphabetical list) to expand this important idea. |
| 18740 | If 'exist' doesn't express a property, we can hardly ask for its essence [Horsten/Pettigrew] |
| Full Idea: If there is indeed no property of existence that is expressed by the word 'exist', then it makes no sense to ask for its essence. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 2) | |
| A reaction: As far as I can tell, this was exactly Aristotle's conclusion, so he skirted round the question of 'being qua being', and focused on the nature of objects instead. Grand continental talk of 'Being' doesn't sound very interesting. |
| 18745 | A Tarskian model can be seen as a possible state of affairs [Horsten/Pettigrew] |
| Full Idea: A Tarskian model can in a sense be seen as a model of a possible state of affairs. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 3) | |
| A reaction: I include this remark to show how possible worlds semantics built on the arrival of model theory. |
| 18747 | The 'spheres model' was added to possible worlds, to cope with counterfactuals [Horsten/Pettigrew] |
| Full Idea: The notion of a possible worlds model was extended (resulting in the concept of a 'spheres model') in order to obtain a satisfactory logical treatment of counterfactual conditional sentences. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 4) | |
| A reaction: Thus we add 'centred' worlds, and an 'actual' world, to the loose original model. It is important to remember when we discuss 'close' worlds that we are then committed to these presuppositions. |
| 18748 | Epistemic logic introduced impossible worlds [Horsten/Pettigrew] |
| Full Idea: The idea of 'impossible worlds' was introduced into epistemic logic. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 4) | |
| A reaction: Nathan Salmon seems interested in their role in metaphysics (presumably in relation to Meinongian impossible objects, like circular squares, which must necessarily be circular). |
| 18746 | Possible worlds models contain sets of possible worlds; this is a large metaphysical commitment [Horsten/Pettigrew] |
| Full Idea: Each possible worlds model contains a set of possible worlds. For this reason, possible worlds semantics is often charged with smuggling in heavy metaphysical commitments. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 3) | |
| A reaction: To a beginner it looks very odd that you should try to explain possibility by constructing a model of it in terms of 'possible' worlds. |
| 18750 | Using possible worlds for knowledge and morality may be a step too far [Horsten/Pettigrew] |
| Full Idea: When the possible worlds semantics were further extended to model notions of knowledge and of moral obligation, the application was beginning to look distinctly forced and artificial. | |
| From: Horsten,L/Pettigrew,R (Mathematical Methods in Philosophy [2014], 5) | |
| A reaction: They accept lots of successes in modelling necessity and time. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 21798 | To universalise 'give everything to the poor' leads to absurdity [Hegel] |
| Full Idea: If everyone gave everything to the poor, then soon there would be no more poor to give anything to, or no more persons who would have anything to give. | |
| From: Georg W.F.Hegel (Lectures on the Philosophy of Religion [1827], III: 152), quoted by Stephen Houlgate - An Introduction to Hegel 10 'Faith' | |
| A reaction: Matthew 5:8, 19:21. Beautifully clear. [I always believed that I had thought of this idea - but not so]. If the logic is that it is better to be poor than to be rich, then the implication is that all excess wealth should be thrown into the sea. |
| 21797 | Immortality does not come at a later time, but when pure knowing Spirit fully grasps the universal [Hegel] |
| Full Idea: The immortality of the soul must not be imagined as though it first emerges into actuality at some later time; rather it is a present quality. ...As pure knowing or as thinking, Spirit has the universal for its object - this is eternity. | |
| From: Georg W.F.Hegel (Lectures on the Philosophy of Religion [1827], III: 208), quoted by Stephen Houlgate - An Introduction to Hegel 10 'Death' | |
| A reaction: An unusual view of immortality, which challenges orthodoxy. The idea seems to be that 'pure knowing' is a grasping of the pure reason which embodies nature, which in turn is the nature of God. You enter eternity, rather than reside in it? |