12 ideas
| 18261 | A simplification which is complete constitutes a definition [Kant] |
| Full Idea: By dissection I can make the concept distinct only by making the marks it contains clear. That is what analysis does. If this analysis is complete ...and in addition there are not so many marks, then it is precise and so constitutes a definition. | |
| From: Immanuel Kant (Wiener Logik [1795], p.455), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap 1 'Conc' | |
| A reaction: I think Aristotle would approve of this. We need to grasp that a philosophical definition is quite different from a lexicographical definition. 'Completeness' may involve quite a lot. |
| 22275 | Logic gives us the necessary rules which show us how we ought to think [Kant] |
| Full Idea: In logic the question is not one of contingent but of necessary rules, not how to think, but how we ought to think. | |
| From: Immanuel Kant (Wiener Logik [1795], p.16), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 02 'Trans' | |
| A reaction: Presumably it aspires to the objectivity of a single correct account of how we all ought to think. I'm sympathetic to that, rather than modern cultural relativism about reason. Logic is rooted in nature, not in arbitrary convention. |
| 9224 | Proceduralism offers a version of logicism with no axioms, or objects, or ontological commitment [Fine,K] |
| Full Idea: My Proceduralism offers axiom-free foundations for mathematics. Axioms give way to the stipulation of procedures. We obtain a form of logicism, but with a procedural twist, and with a logic which is ontologically neutral, and no assumption of objects. | |
| From: Kit Fine (Our Knowledge of Mathematical Objects [2005], 1) | |
| A reaction: [See Ideas 9222 and 9223 for his Proceduralism] Sounds like philosophical heaven. We get to take charge of mathematics, without the embarrassment of declaring ourselves to be platonists. Someone, not me, should evaluate this. |
| 9222 | The objects and truths of mathematics are imperative procedures for their construction [Fine,K] |
| Full Idea: I call my new approach to mathematics 'proceduralism'. It agrees with Hilbert and Poincaré that the objects and truths are postulations, but takes them to be imperatival rather than indicative in form; not propositions, but procedures for construction. | |
| From: Kit Fine (Our Knowledge of Mathematical Objects [2005], Intro) | |
| A reaction: I'm not sure how an object or a truth can be a procedure, any more than a house can be a procedure. If a procedure doesn't have a product then it is an idle way to pass the time. The view seems to be related to fictionalism. |
| 9223 | My Proceduralism has one simple rule, and four complex rules [Fine,K] |
| Full Idea: My Proceduralism has one simple rule (introduce an object), and four complex rules: Composition (combining two procedures), Conditionality (if A, do B), Universality (do a procedure for every x), and Iteration (rule to keep doing B). | |
| From: Kit Fine (Our Knowledge of Mathematical Objects [2005], 1) | |
| A reaction: It sounds like a highly artificial and private game which Fine has invented, but he claims that this is the sort of thing that practising mathematicians have always done. |
| 18260 | If we knew what we know, we would be astonished [Kant] |
| Full Idea: If we only know what we know ...we would be astonished by the treasures contained in our knowledge. | |
| From: Immanuel Kant (Wiener Logik [1795], p.843), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap 1 'Conc' | |
| A reaction: Nice remark. He doesn't require immediat recall of knowledge. You can't be required to know that you know something. That doesn't imply externalism, though. I believe in securely founded internal knowledge which is hard to recall. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |