13 ideas
| 14082 | No sortal could ever exactly pin down which set of particles count as this 'cup' [Schaffer,J] |
| Full Idea: Many decent candidates could the referent of this 'cup', differing over whether outlying particles are parts. No further sortal I could invoke will be selective enough to rule out all but one referent for it. | |
| From: Jonathan Schaffer (Deflationary Metaontology of Thomasson [2009], 3.1 n8) | |
| A reaction: I never had much faith in sortals for establishing individual identity, so this point comes as no surprise. The implication is strongly realist - that the cup has an identity which is permanently beyond our capacity to specify it. |
| 14081 | Identities can be true despite indeterminate reference, if true under all interpretations [Schaffer,J] |
| Full Idea: There can be determinately true identity claims despite indeterminate reference of the terms flanking the identity sign; these will be identity claims true under all admissible interpretations of the flanking terms. | |
| From: Jonathan Schaffer (Deflationary Metaontology of Thomasson [2009], 3.1) | |
| A reaction: In informal contexts there might be problems with the notion of what is 'admissible'. Is 'my least favourite physical object' admissible? |
| 6417 | In 1921 Russell abandoned sense-data, and the gap between sensation and object [Russell, by Grayling] |
| Full Idea: In 'The Analysis of Mind' Russell gave up talk of 'sense-data', and ceased to distinguish between the act of sensing and what is sensed. | |
| From: report of Bertrand Russell (The Analysis of Mind [1921]) by A.C. Grayling - Russell Ch.2 | |
| A reaction: This seems to lead towards the modern 'adverbial' account of sensing, where I don't sense 'data', but where qualia (such as redness) are our particular mode of directly perceiving objects, where insects might directly perceive them in a different mode. |
| 6474 | Seeing is not in itself knowledge, but is separate from what is seen, such as a patch of colour [Russell] |
| Full Idea: Undeniably, knowledge comes through seeing, but it is a mistake to regard the mere seeing itself as knowledge; if we are so to regard it, we must distinguish the seeing from what is seen; a patch of colour is one thing, and our seeing it is another. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: This is Russell's 1921 explanation of why he adopted sense-data (but he rejects them later in this paragraph). This gives a simplistic impression of what he intended, which has three components: the object, the 'sensibile', and the sense-datum. |
| 6476 | We cannot assume that the subject actually exists, so we cannot distinguish sensations from sense-data [Russell] |
| Full Idea: If we are to avoid a perfectly gratuitous assumption, we must dispense with the subject as one of the actual ingredients of the world; but when we do this, the possibility of distinguishing the sensation from the sense-datum vanishes. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: This is the reason why Russell himself rejected sense-data. It is more normal, I think, to reject them simply as being superfluous. If the subject can simply perceive the sense-data, why can't they just perceive the object more directly? |
| 2792 | It is possible the world came into existence five minutes ago, complete with false memories [Russell] |
| Full Idea: There is no logical impossibility in the hypothesis that the world sprang into being five minutes ago, exactly as it then was, with a population that "remembered" a wholly unreal past. | |
| From: Bertrand Russell (The Analysis of Mind [1921], p.159) | |
| A reaction: One of the great sceptical arguments! At a stroke it undermines forever any dreams that memories are totally certain. This is an extra scepticism, which arises if you decide that current experience IS totally certain. |
| 22326 | Knowledge needs more than a sensitive response; the response must also be appropriate [Russell] |
| Full Idea: Accuracy of response to stimulus does not alone show knowledge, but must be reinforced by appropriateness, i.e. suitability of realising one's purpose. | |
| From: Bertrand Russell (The Analysis of Mind [1921], p.261), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 66 'Rel' | |
| A reaction: The aim of 'realising one's purpose' puts a very pragmatist spin on this. The point is a good one, and seems to apply particularly to Nozick's accurate 'tracking' account of knowledge. |
| 6475 | In perception, the self is just a logical fiction demanded by grammar [Russell] |
| Full Idea: In perception, the idea of the subject appears to be a logical fiction, like mathematical points and instants; it is introduced, not because observation reveals it, but because it is linguistically convenient and apparently demanded by grammar. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: In 1912, Russell had felt that both the Cogito, and the experience of meta-thought, had confirmed the existence of a non-permanent ego, but here he offers a Humean rejection. His notion of a 'logical fiction' is behaviouristic. I believe in the Self. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |