14 ideas
| 9456 | Modal logic is multiple systems, shown in the variety of accessibility relations between worlds [Jacquette] |
| Full Idea: Modal logic by its very nature is not monolithic, but fragmented into multiple systems of modal qualifications, reflected in the plurality of accessibility relations on modal model structures or logically possible worlds. | |
| From: Dale Jacquette (Intro to 'Philosophy of Logic' [2002], §3) | |
| A reaction: He implies the multiplicity is basic, and is only 'reflected' in the relations, but maybe the multiplicity is caused by incompetent logicians who can't decide whether possible worlds really are reflexive or symmetrical or transitive in their relations. |
| 9457 | The two main views in philosophy of logic are extensionalism and intensionalism [Jacquette] |
| Full Idea: Philosophy of logic has (roughly) two camps: extensionalists and intensionalists, with the former view dominant. ...There is a close connection between this and eliminativist or reductivist versus folk psychological and intentionalist philosophy of mind. | |
| From: Dale Jacquette (Intro to 'Philosophy of Logic' [2002], §4) | |
| A reaction: Hm. I think I favour intensionalism in the logic, and reductivism about the mind, so I may have a bit of bother here. I'm convinced that this jigsaw can be completed, despite all appearances. |
| 9458 | Extensionalists say that quantifiers presuppose the existence of their objects [Jacquette] |
| Full Idea: Extensionalists hold that quantifiers in predicate logic presuppose the existence of whatever objects can be referred to by constants or bound variables, or enter into true predication of properties. | |
| From: Dale Jacquette (Intro to 'Philosophy of Logic' [2002], §4) | |
| A reaction: I have strong sales resistance to this view. Why should a procedure for correctly reasoning from one proposition to another have anything whatever to do with ontology? A false world picture can be interconnected by perfect logic. |
| 9461 | Intensionalists say meaning is determined by the possession of properties [Jacquette] |
| Full Idea: According to intensionalist semantics the meaning of a proposition is determined by the properties an object possesses. | |
| From: Dale Jacquette (Intro to 'Philosophy of Logic' [2002], §4) | |
| A reaction: This sounds good to me. Extensionalist don't seem to care what sets they put things in, but if property possession comes first, then things will fall into their own sets without any help for us. We can add silly sets afterwards, if we fancy. |
| 6457 | Sensations are mental, but sense-data could be mind-independent [Vesey] |
| Full Idea: Whereas a sensation is by definition mental, a sense-datum might be mind-independent. | |
| From: Godfrey Vesey (Collins Dictionary of Philosophy [1990], p.266) | |
| A reaction: This seems to be what Russell is getting at in 1912, as he clearly separates sense-data from sensations. Discussions of sense-data always assume they are mental, which may make them redundant - but so might making them physical. |
| 9460 | Extensionalist semantics forbids reference to nonexistent objects [Jacquette] |
| Full Idea: In extensionalist semantics only existent objects can be referred to, ...but in everyday thought and discourse we regularly and apparently without undue confusion speak about nonexistent objects. | |
| From: Dale Jacquette (Intro to 'Philosophy of Logic' [2002], §4) | |
| A reaction: This is the reason why Meinong, whose views are presented by Russell as absurd, are undergoing a revival. The full-blown view will even treat 'round squares' as objects about which we can reason - and why not? Don't open a shop which sells them. |
| 9459 | Extensionalist semantics is circular, as we must know the extension before assessing 'Fa' [Jacquette] |
| Full Idea: Extensional semantics is blatantly circular. For 'Fa' to be interpreted as true, we must know that object a belongs to the extension of the predicate F, so we must already know which objects belong to the extension. | |
| From: Dale Jacquette (Intro to 'Philosophy of Logic' [2002], §4) | |
| A reaction: I'm delighted to read this, because it was the first thought that occurred to me when I encountered the theory. Presumably this leads Quine to take predication as basic, because you can't break into the circle. Or, vote for intensionalism? |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |