18 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. |
| 13074 | Only natural kinds and their members have real essences [Suárez, by Cover/O'Leary-Hawthorne] |
| Full Idea: On Suarez's account, only natural kinds and their members have real essences. | |
| From: report of Francisco Suárez (works [1588]) by Cover,J/O'Leary-Hawthorne,J - Substance and Individuation in Leibniz 1.3.1 n21 | |
| A reaction: Interesting. Rather than say that everything is a member of some kind, we leave quirky individuals out, with no essence at all. What is the status of the very first exemplar of a given kind? |
| 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. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 7563 | The old 'influx' view of causation says it is a flow of accidental properties from A to B [Suárez, by Jolley] |
| Full Idea: The 'influx' model of causation says that causes involve a process of contagion, as it were; when the kettle boils, the gas infects the water inside the kettle with its own 'individual accident' of heat, which literally flows from one to the other. | |
| From: report of Francisco Suárez (works [1588]) by Nicholas Jolley - Leibniz Ch.2 | |
| A reaction: This nicely captures the scholastic target of Hume's sceptical thinking on the subject. However, see Idea 2542, where the idea of influx has had a revival. It is hard to see how the water could change if it didn't 'catch' something from the gas. |