30 ideas
| 8195 | Undecidable statements result from quantifying over infinites, subjunctive conditionals, and the past tense [Dummett] |
| Full Idea: I once wrote that there are three linguistic devices that make it possible for us to frame undecidable statements: quantification over infinity totalities, as expressed by word such as 'never'; the subjunctive conditional form; and the past tense. | |
| From: Michael Dummett (Truth and the Past [2001], 4) | |
| A reaction: Dummett now repudiates the third one. Statements containing vague concepts also appear to be undecidable. Personally I have no problems with deciding (to a fair extent) about 'never x', and 'if x were true', and 'it was x'. |
| 8194 | Surely there is no exact single grain that brings a heap into existence [Dummett] |
| Full Idea: There is surely no number n such that "n grains of sand do not make a heap, although n+1 grains of sand do" is true. | |
| From: Michael Dummett (Truth and the Past [2001], 4) | |
| A reaction: It might be argued that there is such a number, but no human being is capable of determing it. Might God know the value of n? On the whole Dummett's view seems the most plausible. |
| 8190 | Intuitionists rely on the proof of mathematical statements, not their truth [Dummett] |
| Full Idea: The intuitionist account of the meaning of mathematical statements does not employ the notion of a statement's being true, but only that of something's being a proof of the statement. | |
| From: Michael Dummett (Truth and the Past [2001], 2) | |
| A reaction: I remain unconvinced that anyone could give an account of proof that didn't discreetly employ the notion of truth. What are we to make of "we suspect this is true, but no one knows how to prove it?" (e.g. Goldbach's Conjecture). |
| 8198 | A 'Cambridge Change' is like saying 'the landscape changes as you travel east' [Dummett] |
| Full Idea: The idea of 'Cambridge Change' is like saying 'the landscape changes as you travel east'. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: The phrase was coined in Oxford. It is a useful label with which realists can insult solipsists, idealists and other riff-raff. Four Dimensionalists seem to see time in this way. Events sit there, and we travel past them. But there are indexical events. |
| 8192 | I no longer think what a statement about the past says is just what can justify it [Dummett] |
| Full Idea: In distinguishing between what can establish a statement about the past as true and what it is that that statement says, we are repudiating antirealism about the past. | |
| From: Michael Dummett (Truth and the Past [2001], 3) | |
| A reaction: This is a late shift of ground from the champion of antirealism. If Dummett's whole position is based on a 'justificationist' theory of meaning, he must surely have a different theory of meaning now for statements about the past? |
| 6672 | Moore's Paradox: you can't assert 'I believe that p but p is false', but can assert 'You believe p but p is false' [Moore,GE, by Lowe] |
| Full Idea: Moore's Paradox says it makes no sense to assert 'I believe that p, but p is false', even though it makes perfectly good sense to assert 'I used to believe p, but p is false' or 'You believe p, but p is false'. | |
| From: report of G.E. Moore (works [1905]) by E.J. Lowe - Introduction to the Philosophy of Mind Ch.10 | |
| A reaction: I'm not sure if this really deserves the label of 'paradox'. I take it as drawing attention to the obvious fact that belief is commitment to truth. I think my assessment that p is true is correct, but your assessment is wrong. ('True' is not redundant!) |
| 8199 | The existence of a universe without sentience or intelligence is an unintelligible fantasy [Dummett] |
| Full Idea: The existence of a universe from which sentience was permanently absent is an unintelligible fantasy. What exists is what can be known to exist. What is true is what can be known to be true. Reality is what can be experienced and known. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: This strikes me as nonsense. The fact that we cannot think about a universe without introducing a viewpoint does not mean that we cannot 'intellectually imagine' its existence devoid of viewpoints. Nothing could ever experience a star's interior. |
| 8193 | Verification is not an individual but a collective activity [Dummett] |
| Full Idea: Verification is not an individual but a collective activity. | |
| From: Michael Dummett (Truth and the Past [2001], 3) | |
| A reaction: This generates problems. Are deceased members of the community included? (Yes, says Dummett). If someone speaks to angels (Blake!), do they get included? Is a majority necessary? What of weird loners? Etc. |
| 8189 | Truth-condition theorists must argue use can only be described by appeal to conditions of truth [Dummett] |
| Full Idea: To demonstrate the necessity of a truth-conditional theory of meaning, a proponent of such a theory must argue that use cannot be described without appeal to the conditions for the truth of statements. | |
| From: Michael Dummett (Truth and the Past [2001], 1) | |
| A reaction: Unlike Dummett, I find that argument rather appealing. How do you decide the possible or appropriate use for a piece of language, if you don't already know what it means. Basing it all on social conventions means it could be meaningless ritual. |
| 8191 | The truth-conditions theory must get agreement on a conception of truth [Dummett] |
| Full Idea: It is not enough for the truth-condition theorist to argue that we need the concept of truth: he must show that we should have the same conception of truth that he has. | |
| From: Michael Dummett (Truth and the Past [2001], 2) | |
| A reaction: Davidson invites us to accept Tarski's account of truth. It invites the question of what the theory would be like with a very robust correspondence account of truth, or a flabby rather subjective coherence view, or the worst sort of pragmatic view. |
| 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. |
| 8197 | Maybe past (which affects us) and future (which we can affect) are both real [Dummett] |
| Full Idea: Maybe both the past and the future are real, determined by our current temporal perspective. Past is then events capable of having a causal influence upon events near us, and future is events we can affect, but from which we receive no information. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: This is the Four-Dimensional view, which is opposed to Presentism. Might immediate unease is that it gives encouragement to fortune-tellers, whom I have always dismissed with 'You can't see the future, because it doesn't exist'. |
| 8196 | The present cannot exist alone as a mere boundary; past and future truths are rendered meaningless [Dummett] |
| Full Idea: The idea that only the present is real cannot be sustained. St Augustine pointed out that the present has no duration; it is a mere boundary between past and future, and dependent on them. It also denies truth-value to statements about past or future. | |
| From: Michael Dummett (Truth and the Past [2001], 5) | |
| A reaction: To defend Presentism, I suspect that one must focus entirely on the activities of consciousness and short-term memory. All truths, of past or future, must refer totally to such mental events. But what could an event be if there is no enduring time? |
| 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? |