16 ideas
| 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) |
| 12156 | Aesthetics has risen and fallen with Romanticism [Scruton] |
| Full Idea: The rise and fall (as we presently perceive them) of aesthetics have been contemporaneous with the rise and fall of Romanticism. | |
| From: Roger Scruton (Recent Aesthetics in England and America [1980], p.3) | |
| A reaction: Maybe it started a little before Romanticism, as part of the Englightenment aim of being rational about everything, and maybe it survives Romanticism because we want to be scientific about everything. |
| 12158 | Aesthetic experience informs the world with the values of the observer [Scruton] |
| Full Idea: It is possible to conclude that aesthetic experience has a peculiar practical significance: it represents the world as informed by the values of the observer. | |
| From: Roger Scruton (Recent Aesthetics in England and America [1980], p.13) | |
| A reaction: An excellent remark. If you look at, or listen to, anything, you can make a conscious effort to drain away your personal values (objectivity; science?), or you can consciously flood them with values. But moral and aesthetic vision must differ... |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| Full Idea: Wimsatt and Beardsley claimed that either the intention succeeded, so one does not need to look outside the work for its meaning, or the intention failed, so external evidence does not help. | |
| From: report of W Wimsatt/W Beardsley (The Intentional Fallacy [1946]) by Stephen Davies - The Philosophy of Art (2nd ed) 5.3 | |
| A reaction: Actually, the external evidence may tell you much more clearly and accurately what the intention was than the work itself does. The best example may be the title of the work, which is presumably outside the work. |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| Full Idea: The design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: This famous proposal may have been misunderstood. Note that it is a comment about judging the work, not about understanding it. The idea allows for a work being much more successful than the author's humble intentions (e.g. Pepys). |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| Full Idea: Poetry differs from practical messages, which are successful if and only if we correctly infer the intention. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: I am not convinced by this claim. It is plausible that a work does much more than it intends (Astaire said he danced "to make a buck"), but it is rather odd to rate very highly a work of which you have missed the point. |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| Full Idea: We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: Wrong. If in Browning's "My Last Duchess" (say), we only inferred the mind of the speaker (and his Duchess), and took no interest in Browning's view of things, we would miss the point. We might end up respecting the Duke, which would be daft. |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| Full Idea: The intentional fallacy is a romantic one. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §II) | |
| A reaction: Wrong. Even with those most famous of anonymous artists, the architects and carvers of medieval cathedrals, without some discernment of the purpose you won't get it. The Taj Mahal is a love letter, not a potential ice cream parlour. |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |
| Full Idea: The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §IV) | |
| A reaction: I am very keen to penetrate the author's intentions, but I have always be doubtful about the use of biography as a means to achieve this. Most of the effort to infer intentions must come from a study of the work itself, not introductions, letters etc. |