51 ideas
| 3358 | Metaphysics focuses on Platonism, essentialism, materialism and anti-realism [Benardete,JA] |
| Full Idea: In contemporary metaphysics the major areas of discussion are Platonism, essentialism, materialism and anti-realism. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], After) |
| 3312 | There are the 'is' of predication (a function), the 'is' of identity (equals), and the 'is' of existence (quantifier) [Benardete,JA] |
| Full Idea: At least since Russell, one has routinely distinguished between the 'is' of predication ('Socrates is wise', Fx), the 'is' of identity ('Morning Star is Evening Star', =), and the 'is' of existence ('the cat is under the bed', Ex). | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 7) | |
| A reaction: This seems horribly nitpicking to many people, but I love it - because it is just true, and it is a truth right at the basis of the confusions in our talk. Analytic philosophy forever! [P.S. 'Tiddles is a cat' - the 'is' membership] |
| 3352 | Analytical philosophy analyses separate concepts successfully, but lacks a synoptic vision of the results [Benardete,JA] |
| Full Idea: Analytical philosophy excels in the piecemeal analysis of causation, perception, knowledge and so on, but there is a striking poverty of any synoptic vision of these independent studies. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.22) |
| 3329 | Presumably the statements of science are true, but should they be taken literally or not? [Benardete,JA] |
| Full Idea: As our bible, the Book of Science is presumed to contain only true sentences, but it is less clear how they are to be construed, which literally and which non-literally. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.13) |
| 3326 | Set theory attempts to reduce the 'is' of predication to mathematics [Benardete,JA] |
| Full Idea: Set theory offers the promise of a complete mathematization of the 'is' of predication. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.13) |
| 3327 | The set of Greeks is included in the set of men, but isn't a member of it [Benardete,JA] |
| Full Idea: Set inclusion is sharply distinguished from set membership (as the set of Greeks is found to be included in, but not a member of, the set of men). | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.13) |
| 3335 | The standard Z-F Intuition version of set theory has about ten agreed axioms [Benardete,JA, by PG] |
| Full Idea: Zermelo proposed seven axioms for set theory, with Fraenkel adding others, to produce the standard Z-F Intuition. | |
| From: report of José A. Benardete (Metaphysics: the logical approach [1989], Ch.17) by PG - Db (ideas) |
| 3332 | Greeks saw the science of proportion as the link between geometry and arithmetic [Benardete,JA] |
| Full Idea: The Greeks saw the independent science of proportion as the link between geometry and arithmetic. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.15) |
| 3330 | Negatives, rationals, irrationals and imaginaries are all postulated to solve baffling equations [Benardete,JA] |
| Full Idea: The Negative numbers are postulated (magic word) to solve x=5-8, Rationals postulated to solve 2x=3, Irrationals for x-squared=2, and Imaginaries for x-squared=-1. (…and Zero for x=5-5) …and x/0 remains eternally open. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.14) |
| 3337 | Natural numbers are seen in terms of either their ordinality (Peano), or cardinality (set theory) [Benardete,JA] |
| Full Idea: One approaches the natural numbers in terms of either their ordinality (Peano), or cardinality (set theory). | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.17) |
| 3310 | If slowness is a property of walking rather than the walker, we must allow that events exist [Benardete,JA] |
| Full Idea: Once we conceded that Tom can walk slowly or quickly, and that the slowness and quickness is a property of the walking and not of Tom, we can hardly refrain from quantifying over events (such as 'a walking') in our ontology. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 6) |
| 12793 | Early pre-Socratics had a mass-noun ontology, which was replaced by count-nouns [Benardete,JA] |
| Full Idea: With their 'mass-noun' ontologies, the early pre-Socratics were blind to plurality ...but the count-noun ontologists came to dominate the field forever after. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 6) | |
| A reaction: The mass-nouns are such things as earth, air, fire and water. This is a very interesting historical observation (cited by Laycock). Our obsession with identity seems tied to formal logic. There is a whole other worldview waiting out there. |
| 3353 | If there is no causal interaction with transcendent Platonic objects, how can you learn about them? [Benardete,JA] |
| Full Idea: How can you learn of the existence of transcendent Platonic objects if there is no causal interaction with them? | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.22) |
| 3304 | Why should packed-together particles be a thing (Mt Everest), but not scattered ones? [Benardete,JA] |
| Full Idea: Why suppose these particles packed together constitute a macro-entity (namely, Mt Everest), whereas those, of equal number, scattered around, fail to add up to anything beyond themselves? | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 2) |
| 3350 | Could a horse lose the essential property of being a horse, and yet continue to exist? [Benardete,JA] |
| Full Idea: Is being a horse an essential property of a horse? Can we so much as conceive the abstract possibility of a horse's ceasing to be a horse even while continuing to exist? | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.20) |
| 3309 | If a soldier continues to exist after serving as a soldier, does the wind cease to exist after it ceases to blow? [Benardete,JA] |
| Full Idea: If a soldier need not cease to exist merely because he ceases to be a soldier, there is room to doubt that the wind ceases to exist when it ceases to be a wind. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 6) |
| 3351 | One can step into the same river twice, but not into the same water [Benardete,JA] |
| Full Idea: One can step into the same river twice, but one must not expect to step into the same water. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.21) |
| 3314 | Absolutists might accept that to exist is relative, but relative to what? How about relative to itself? [Benardete,JA] |
| Full Idea: With the thesis that to be as such is to be relative, the absolutist may be found to concur, but the issue turns on what it might be that a thing is supposed to be relative to. Why not itself? | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 8) |
| 3323 | Maybe self-identity isn't existence, if Pegasus can be self-identical but non-existent [Benardete,JA] |
| Full Idea: 'Existence' can't be glossed as self-identical (critics say) because Pegasus, even while being self-identical, fails to exist. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.11) |
| 9169 | A statement can be metaphysically necessary and epistemologically contingent [Putnam] |
| Full Idea: A statement can be (metaphysically) necessary and epistemologically contingent. Human intuition has no privileged access to metaphysical necessity. | |
| From: Hilary Putnam (Meaning and Reference [1973], p.160) | |
| A reaction: The terminology here is dangerously confusing. 'Contingent' is a term which (as Kripke insists) refers to reality, not to our epistemological abilities. The locution of adding the phrase "for all I know" seems to handle the problem better. |
| 5819 | Conceivability is no proof of possibility [Putnam] |
| Full Idea: Conceivability is no proof of possibility. | |
| From: Hilary Putnam (Meaning and Reference [1973], p.159) | |
| A reaction: This strikes me as a really basic truth which all novice philosophers should digest. It led many philosophers, especially rationalists, into all sorts of ill-founded claims about what is possible or necessary. Zombies, for instance… |
| 3306 | The clearest a priori knowledge is proving non-existence through contradiction [Benardete,JA] |
| Full Idea: One proves non-existence (e.g. of round squares) by using logic to derive a contradiction from the concept; it is precisely here, in such proofs, that we find the clearest example of a priori knowledge. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 4) |
| 3349 | If we know truths about prime numbers, we seem to have synthetic a priori knowledge of Platonic objects [Benardete,JA] |
| Full Idea: Assume that we know to be true propositions of the form 'There are exactly x prime numbers between y and z', and synthetic a priori truths about Platonic objects are delivered to us on a silver platter. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.18) |
| 3341 | Logical positivism amounts to no more than 'there is no synthetic a priori' [Benardete,JA] |
| Full Idea: Logical positivism has been concisely summarised as 'there is no synthetic a priori'. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.18) |
| 3344 | Assertions about existence beyond experience can only be a priori synthetic [Benardete,JA] |
| Full Idea: No one thinks that the proposition that something exists that transcends all possible experience harbours a logical inconsistency. Its denial cannot therefore be an analytic proposition, so it must be synthetic, though only knowable on a priori grounds. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.18) |
| 3345 | Appeals to intuition seem to imply synthetic a priori knowledge [Benardete,JA] |
| Full Idea: Appeals to intuition - no matter how informal - can hardly fail to smack of the synthetic a priori. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.18) |
| 9168 | I can't distinguish elm trees, but I mean by 'elm' the same set of trees as everybody else [Putnam] |
| Full Idea: My concept of an elm tree is exactly the same as my concept of a beech tree (I blush to confess). ..We still say that the extension of 'elm' in my idiolect is the same as the extension of 'elm' in anyone else's, viz. the set of all elm trees. | |
| From: Hilary Putnam (Meaning and Reference [1973], p.154) | |
| A reaction: This example is clearer and less open to hair-splitting than his water/XYZ example. You could, with Putnam, say that his meaning of 'elm' is outside his head, but you could also say that he doesn't understand the word very well. |
| 5820 | 'Water' has an unnoticed indexical component, referring to stuff around here [Putnam] |
| Full Idea: Our theory can be summarized as saying that words like 'water' have an unnoticed indexical component: "water" is stuff that bears a certain similarity relation to the water around here. | |
| From: Hilary Putnam (Meaning and Reference [1973], p.160) | |
| A reaction: This is the causal theory of reference, which leads to externalism about concepts, which leads to an externalist view of thought, which undermines internal accounts of the mind like functionalism, and leaves little room for scepticism… Etc. |
| 9170 | We need to recognise the contribution of society and of the world in determining reference [Putnam] |
| Full Idea: Traditional semantic theory leaves out two contributions to the determination of reference - the contribution of society and the contribution of the real world; a better semantic theory must encompass both. | |
| From: Hilary Putnam (Meaning and Reference [1973], p.161) | |
| A reaction: I strongly agree that there is a social aspect to reference-fixing, but I am much more dubious about the world 'determining' anything. The whole of his Twin Earth point could be mopped up by a social account, with 'experts' as the key idea. |
| 5817 | Language is more like a cooperative steamship than an individual hammer [Putnam] |
| Full Idea: There are tools like a hammer used by one person, and there are tools like a steamship which require cooperative activity; words have been thought of too much on the model of the first sort of tool. | |
| From: Hilary Putnam (Meaning and Reference [1973], p.156) | |
| A reaction: This clear thought strikes me as the most fruitful and sensible consequence of Wittgenstein's later ideas (as opposed to the relativistic 'language game' ideas). I am unconvinced that a private language is logically impossible, but it would be feeble. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 5818 | If water is H2O in the actual world, there is no possible world where it isn't H2O [Putnam] |
| Full Idea: Once we have discovered that water (in the actual world) is H2O, nothing counts as a possible world in which water isn't H2O. | |
| From: Hilary Putnam (Meaning and Reference [1973], p.159) | |
| A reaction: Presumably there could be a possible world in which water is a bit cloudy, so the fact that it is H2O is being judged as essential. Presumably the scientists in the possible world might discover that we are wrong about the chemistry of water? |
| 3334 | Rationalists see points as fundamental, but empiricists prefer regions [Benardete,JA] |
| Full Idea: Rationalists have been happier with an ontology of points, and empiricists with an ontology of regions. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch.16) |
| 3308 | In the ontological argument a full understanding of the concept of God implies a contradiction in 'There is no God' [Benardete,JA] |
| Full Idea: In the ontological argument a deep enough understanding of the very concept of God allows one to derive by logic a contradiction from the statement 'There is no God'. | |
| From: José A. Benardete (Metaphysics: the logical approach [1989], Ch. 4) |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |