11 ideas
| 6019 | If someone squashed a horse to make a dog, something new would now exist [Mnesarchus] |
| Full Idea: If, for the sake of argument, someone were to mould a horse, squash it, then make a dog, it would be reasonable for us on seeing this to say that this previously did not exist but now does exist. | |
| From: Mnesarchus (fragments/reports [c.120 BCE]), quoted by John Stobaeus - Anthology 179.11 | |
| A reaction: Locke would say it is new, because the substance is the same, but a new life now exists. A sword could cease to exist and become a new ploughshare, I would think. Apply this to the Ship of Theseus. Is form more important than substance? |
| 14919 | Empiricists deny what is unobservable, and reject objective modality [Fraassen] |
| Full Idea: To be an empiricist is to withhold belief in anything that goes beyond the actual, observable phenomena, and to recognise no objective modality in nature. | |
| From: Bas C. van Fraassen (The Scientific Image [1980], p.202), quoted by J Ladyman / D Ross - Every Thing Must Go 2.3.1 | |
| A reaction: To only believe in what is actually observable strikes me as ridiculous. It might be, though, that we observe modality, in observing dispositions. If you pull back a bowstring, you feel the possibilities. |
| 6783 | To 'accept' a theory is not to believe it, but to believe it empirically adequate [Fraassen, by Bird] |
| Full Idea: To 'accept' a theory is not to believe it, but is instead to believe it to be empirically adequate. | |
| From: report of Bas C. van Fraassen (The Scientific Image [1980]) by Alexander Bird - Philosophy of Science Ch.4 | |
| A reaction: The second half of this doesn't avoid the word 'belief'. Nevertheless the suggestion is that we never believe (i.e. commit to truth) ever again. So you avoid an on-coming bus because the threat appears to be 'empirically adequate'. Hm. |
| 14917 | To accept a scientific theory, we only need to believe that it is empirically adequate [Fraassen] |
| Full Idea: Science aims to give us theories which are empirically adequate; and acceptance of a theory involves as belief only that it is empiricially adequate. | |
| From: Bas C. van Fraassen (The Scientific Image [1980], p.12), quoted by J Ladyman / D Ross - Every Thing Must Go 2.3.1 | |
| A reaction: This won't tell us what to do if there is a tie between two theories, and we will want to know the criteria for 'adequate'. Presumably there are theories which are empirically quite good, but not yet acceptable. Theories commit beyond experience. |
| 6784 | Why should the true explanation be one of the few we have actually thought of? [Fraassen, by Bird] |
| Full Idea: Van Fraassen asks why we should think that the actual explanation of the evidence should be found among the theories we are considering, when there must be an infinity of theories which are also potential explanations of the evidence? | |
| From: report of Bas C. van Fraassen (The Scientific Image [1980]) by Alexander Bird - Philosophy of Science Ch.4 | |
| A reaction: This has become one of the leading modern anti-realist arguments. We must introduce an element of faith here; presumably evolution makes us experts on immediate puzzles, competent on intermediate ones, and hopeful on remote ones. |
| 13066 | An explanation is just descriptive information answering a particular question [Fraassen, by Salmon] |
| Full Idea: On van Fraassen's theory an explanation is simply an answer to a why-question; it is nothing other than descriptive information that, in a given context, answers a particular type of question. | |
| From: report of Bas C. van Fraassen (The Scientific Image [1980]) by Wesley Salmon - Four Decades of Scientific Explanation 4.3 | |
| A reaction: Presumably we would need some sort of criterion for a 'good' explanation, and it seems to me that a very good explanation might be given which was nevertheless beyond the grasp of the questioner. |
| 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. |