23 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? |
| 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. |
| 17060 | Best Explanation is the core notion of epistemology [Harman, by Smart] |
| Full Idea: Gilbert Harman introduced the term 'inference to the best explanation', and argued that it is the core notion of epistemology. | |
| From: report of Gilbert Harman (The Inference to the Best Explanation [1974]) by J.J.C. Smart - Explanation - Opening Address p. 01 | |
| A reaction: Hard to assess that, but it sounds right. I'm a fan of coherence theories of justification, and also coherence theories of explanation, and there is a neat package there somewhere. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 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. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 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? |