10 ideas
| 16489 | Is it possible to state every possible truth about the whole course of nature without using 'not'? [Russell] |
| Full Idea: Imagine a person who knew everything that can be stated without using the word 'not' or some equivalent; would such a person know the whole course of nature, or would he not? | |
| From: Bertrand Russell (Human Knowledge: its scope and limits [1948], 9) | |
| A reaction: Nowadays we might express Russell's thought as 'Does God need the word 'not'?'. Russell's thesis is that such words concern psychology, and not physics. God would need 'not' to describe how human minds work. |
| 16490 | Some facts about experience feel like logical necessities [Russell] |
| Full Idea: The impossibility of seeing two colours simultaneously in a given direction feels like a logical impossibility. | |
| From: Bertrand Russell (Human Knowledge: its scope and limits [1948], 9) | |
| A reaction: I presume all necessities feel equally necessary. If we distinguish necessities by what gives rise to them (a view I favour) then how strong they 'feel' will be irrelevant. We can see why Russell is puzzled by the phenomenon, though. |
| 16488 | It is hard to explain how a sentence like 'it is not raining' can be found true by observation [Russell] |
| Full Idea: If 'it is not raining' means 'the sentence "it is raining" is false', that makes it almost impossible to understand how a sentence containing the word 'not' can be found true by observation. | |
| From: Bertrand Russell (Human Knowledge: its scope and limits [1948], 9) | |
| A reaction: Russell goes on to explore the general difficulty of deciding negative truths by observation. The same problem arises for truthmaker theory. Obviously I can observe that it isn't raining, but it seems parasitic on observing when it is raining. |
| 16491 | If we define 'this is not blue' as disbelief in 'this is blue', we eliminate 'not' as an ingredient of facts [Russell] |
| Full Idea: We can reintroduce 'not' by a definition: the words 'this is not blue' are defined as expressing disbelief in what is expressed by the words 'this is blue'. In this way the need of 'not' as an indefinable constituent of facts is avoided. | |
| From: Bertrand Russell (Human Knowledge: its scope and limits [1948], 9) | |
| A reaction: This is part of Russell's programme of giving a psychological account of logical connectives. See other ideas from his 1940 and 1948 works. He observes that disbelief is a state just as positive as belief. I love it. |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |
| 4786 | Russell's 'at-at' theory says motion is to be at the intervening points at the intervening instants [Russell, by Psillos] |
| Full Idea: To reply to Zeno's Arrow Paradox, Russell developed his 'at-at' theory of motion, which says that to move from A to B is to be at the intervening points at the intervening instants. | |
| From: report of Bertrand Russell (Human Knowledge: its scope and limits [1948]) by Stathis Psillos - Causation and Explanation §4.2 | |
| A reaction: I wonder whether Russell's target was actually Zeno, or was it a simplified ontology of points and instants? The ontology will also need identity, to ensure it is the same thing which arrives at each point. |