17 ideas
| 12170 | Amusement rests on superiority, or relief, or incongruity [Scruton] |
| Full Idea: There are three common accounts of amusement: superiority theories (Hobbes's 'sudden glory'), 'relief from restraint' (Freud on jokes), and 'incongruity' theories (Schopenhauer). | |
| From: Roger Scruton (Laughter [1982], §5) | |
| A reaction: All three contain some truth. But one need not feel superior to laugh, and one may already be in a state of unrestraint. Schopenhauer seems closest to a good general account. |
| 12173 | The central object of amusement is the human [Scruton] |
| Full Idea: There are amusing buildings, but not amusing rocks and cliffs. If I were to propose a candidate for the formal object of amusement, then the human would be my choice, ...or at least emphasise its centrality. | |
| From: Roger Scruton (Laughter [1982], §9) | |
| A reaction: Sounds good. Animal behaviour only seems to amuse if it evokes something human. Plants would have to look a bit human to be funny. |
| 12169 | Since only men laugh, it seems to be an attribute of reason [Scruton] |
| Full Idea: Man is the only animal that laughs, so a starting point for all enquiries into laughter must be the hypothesis that it is an attribute of reason (though that gets us no further than our definition of reason). | |
| From: Roger Scruton (Laughter [1982], §1) | |
| A reaction: I would be inclined to say that both our capacity for reason and our capacity for laughter (and, indeed, our capacity for language) are a consequence of our evolved capacity for meta-thought. |
| 12172 | Objects of amusement do not have to be real [Scruton] |
| Full Idea: It is a matter of indifference whether the object of amusement be thought to be real. | |
| From: Roger Scruton (Laughter [1982], §7) | |
| A reaction: Sort of. If I say 'wouldn't it be funny if someone did x?', it is probably much less funny than if I say 'apparently he really did x'. The fantasy case has to be much funnier to evoke the laughter. |
| 10688 | 'Equivocation' is when terms do not mean the same thing in premises and conclusion [Beall/Restall] |
| Full Idea: 'Equivocation' is when the terms do not mean the same thing in the premises and in the conclusion. | |
| From: JC Beall / G Restall (Logical Consequence [2005], Intro) |
| 10690 | Formal logic is invariant under permutations, or devoid of content, or gives the norms for thought [Beall/Restall] |
| Full Idea: Logic is purely formal either when it is invariant under permutation of object (Tarski), or when it has totally abstracted away from all contents, or it is the constitutive norms for thought. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 2) | |
| A reaction: [compressed] The third account sounds rather woolly, and the second one sounds like a tricky operation, but the first one sounds clear and decisive, so I vote for Tarski. |
| 10691 | Logical consequence needs either proofs, or absence of counterexamples [Beall/Restall] |
| Full Idea: Technical work on logical consequence has either focused on proofs, where validity is the existence of a proof of the conclusions from the premises, or on models, which focus on the absence of counterexamples. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 3) |
| 10695 | Logical consequence is either necessary truth preservation, or preservation based on interpretation [Beall/Restall] |
| Full Idea: Two different views of logical consequence are necessary truth-preservation (based on modelling possible worlds; favoured by Realists), or truth-preservation based on the meanings of the logical vocabulary (differing in various models; for Anti-Realists). | |
| From: JC Beall / G Restall (Logical Consequence [2005], 2) | |
| A reaction: Thus Dummett prefers the second view, because the law of excluded middle is optional. My instincts are with the first one. |
| 10689 | A step is a 'material consequence' if we need contents as well as form [Beall/Restall] |
| Full Idea: A logical step is a 'material consequence' and not a formal one, if we need the contents as well as the structure or form. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 2) |
| 10696 | A 'logical truth' (or 'tautology', or 'theorem') follows from empty premises [Beall/Restall] |
| Full Idea: If a conclusion follows from an empty collection of premises, it is true by logic alone, and is a 'logical truth' (sometimes a 'tautology'), or, in the proof-centred approach, 'theorems'. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 4) | |
| A reaction: These truths are written as following from the empty set Φ. They are just implications derived from the axioms and the rules. |
| 10693 | Models are mathematical structures which interpret the non-logical primitives [Beall/Restall] |
| Full Idea: Models are abstract mathematical structures that provide possible interpretations for each of the non-logical primitives in a formal language. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 3) |
| 10692 | Hilbert proofs have simple rules and complex axioms, and natural deduction is the opposite [Beall/Restall] |
| Full Idea: There are many proof-systems, the main being Hilbert proofs (with simple rules and complex axioms), or natural deduction systems (with few axioms and many rules, and the rules constitute the meaning of the connectives). | |
| From: JC Beall / G Restall (Logical Consequence [2005], 3) |
| 12174 | Only rational beings are attentive without motive or concern [Scruton] |
| Full Idea: It is only rational beings who can be attentive without a motive; only rational beings who can be interested in that in which they have no interest. | |
| From: Roger Scruton (Laughter [1982], §12) | |
| A reaction: Rational beings make long term plans, so they cannot prejudge which things may turn out to be of interest to them. Scruton (a Kantian) makes it sound a little loftier than it actually is. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |