24 ideas
| 21793 | Genuine truth is the resolution of the highest contradiction [Hegel] |
| Full Idea: The highest truth, truth as such, is the resolution of the highest opposition and contradiction. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 99), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Art' | |
| A reaction: Uneasy about the word 'highest', and the general Hegelian dream of 'resolving' contradictions, rather than just eliminating at least one component of them. No one else uses the word 'truth' like this. I suppose this Truth has a capital 'T'. |
| 21795 | What I hold true must also be part of my feelings and character [Hegel] |
| Full Idea: Whatever I hold as true, whatever ought to be valid for me, must also be in my feeling, must belong to my being and character. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 97), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Philosophy' | |
| A reaction: I can see that truths do tend to become part of our character, but not that they ought to do so. I suppose I try to live my life enmeshed in the many truths which I have personally selected from the maelstrom of possibilities that engulf us. |
| 18996 | A statement S is 'partly true' if it has some wholly true parts [Yablo] |
| Full Idea: A statement S is 'partly true' insofar as it has wholly true parts: wholly true implications whose subject matter is included in that of S. | |
| From: Stephen Yablo (Aboutness [2014], 01.6) | |
| A reaction: He suggests that if we have rival theories, we agree that it is one or the other. And 'we may have pork for dinner, or human flesh' is partly true. |
| 19006 | An 'enthymeme' is an argument with an indispensable unstated assumption [Yablo] |
| Full Idea: An 'enthymeme' is a deductive argument with an unstated assumption that must be true for the premises to lead to the conclusion. | |
| From: Stephen Yablo (Aboutness [2014], 11.1) |
| 18999 | y is only a proper part of x if there is a z which 'makes up the difference' between them [Yablo] |
| Full Idea: The principle of Supplementation says that y is properly part of x, only if a z exists that 'makes up the difference' between them. [note: that is, z is disjoint from y and sums with y to form x] | |
| From: Stephen Yablo (Aboutness [2014], 03.2) |
| 19001 | 'Pegasus doesn't exist' is false without Pegasus, yet the absence of Pegasus is its truthmaker [Yablo] |
| Full Idea: 'Pegasus does not exist' has a paradoxical, self-undermining flavour. On the one hand, the empty name makes it untrue. But now, why is the name empty? Because Pegasus does not exist. 'Pegasus does not exist' is untrue because Pegasus does not exist. | |
| From: Stephen Yablo (Aboutness [2014], 05.7 n20) | |
| A reaction: Beautiful! This is Yablo's reward for continuing to ask 'why?' after everyone else has stopped in bewilderment at the tricky phenomenon. |
| 19002 | A nominalist can assert statements about mathematical objects, as being partly true [Yablo] |
| Full Idea: If I am a nominalist non-Platonist, I think it is false that 'there are primes over 10', but I want to be able to say it like everyone else. I argue that this because the statement has a part that I do believe, a part that remains interestingly true. | |
| From: Stephen Yablo (Aboutness [2014], 05.8) | |
| A reaction: This is obviously a key motivation for Yablo's book, as it reinforces his fictional view of abstract objects, but aims to capture the phenomena, by investigating what such sentences are 'about'. Admirable. |
| 18998 | Parthood lacks the restriction of kind which most relations have [Yablo] |
| Full Idea: Most relations obtain only between certain kinds of thing. To learn that x is a part of y, however, tells you nothing about x and y taken individually. | |
| From: Stephen Yablo (Aboutness [2014], 03.2) | |
| A reaction: Too sweeping. To be a part of crowd you have to be a person. To be part of the sea you have to be wet. It might depend on whether composition is unrestricted. |
| 19004 | Gettier says you don't know if you are confused about how it is true [Yablo] |
| Full Idea: We know from Gettier that if you are right to regard Q as true, but you are sufficiently confused about HOW it is true - about how things stand with respect to its subject matter - then you don't know that Q. | |
| From: Stephen Yablo (Aboutness [2014], 07.4) | |
| A reaction: I'm inclined to approach Gettier by focusing on the propositions being expressed, where his cases tend to focus on the literal wording of the sentences. What did the utterer mean by the sentences - not what did they appear to say. |
| 19007 | A theory need not be true to be good; it should just be true about its physical aspects [Yablo] |
| Full Idea: A physical theory need not be true to be good, Field has argued, and I agree. All we ask of it truth-wise is that its physical implications should be true, or, in my version, that it should be true about the physical. | |
| From: Stephen Yablo (Aboutness [2014], 12.5) | |
| A reaction: Yablo is, of course, writing a book here about the concept of 'about'. This seems persuasive. The internal terminology of the theory isn't committed to anything - it is only at its physical periphery (Quine) that the ontology matters. |
| 18993 | If sentences point to different evidence, they must have different subject-matter [Yablo] |
| Full Idea: 'All crows are black' cannot say quite the same as 'All non-black things are non-crows', for the two are confirmed by different evidence. Subject matter looks to be the distinguishing feature. One is about crows, the other not. | |
| From: Stephen Yablo (Aboutness [2014], Intro) | |
| A reaction: You might reply that they are confirmed by the same evidence (but only in its unobtainable totality). The point, I think, is that the sentences invite you to start your search in different places. |
| 19003 | Most people say nonblack nonravens do confirm 'all ravens are black', but only a tiny bit [Yablo] |
| Full Idea: The standard response to the raven paradox is to say that a nonblack nonraven does confirm that all ravens are black. But it confirms it just the teeniest little bit - not as much as a black raven does. | |
| From: Stephen Yablo (Aboutness [2014], 06.5) | |
| A reaction: It depends on the proportion between the relevant items. How do you confirm 'all the large animals in this zoo are mammals'? Check for size every animal which is obviously not a mammal? |
| 18992 | Sentence-meaning is the truth-conditions - plus factors responsible for them [Yablo] |
| Full Idea: A sentence's meaning is to do with its truth-value in various possible scenarios, AND the factors responsible for that truth-value. | |
| From: Stephen Yablo (Aboutness [2014], Intro) | |
| A reaction: The thesis of his book, which I welcome. I'm increasingly struck by the way in which much modern philosophy settles for a theory being complete, when actually further explanation is possible. Exhibit A is functional explanations. Why that function? |
| 18994 | The content of an assertion can be quite different from compositional content [Yablo] |
| Full Idea: Assertive content - what a sentence is heard as saying - can be at quite a distance from compositional content. | |
| From: Stephen Yablo (Aboutness [2014], Intro) | |
| A reaction: This is the obvious reason why semantics cannot be entirely compositional, since there is nearly always a contextual component which then has to be added. In the case of irony, the compositional content is entirely reversed. |
| 18997 | Truth-conditions as subject-matter has problems of relevance, short cut, and reversal [Yablo] |
| Full Idea: If the subject-matter of S is how it is true, we get three unfortunate results: S has truth-value in worlds where its subject-matter draws a blank; learning what S is about tells you its truth-value; negating S changes what it's about. | |
| From: Stephen Yablo (Aboutness [2014], 02.8) | |
| A reaction: Together these make fairly devastating objections to the truth-conditions (in possible worlds) theory of meaning. The first-objection concerns when S is false |
| 19005 | Not-A is too strong to just erase an improper assertion, because it actually reverses A [Yablo] |
| Full Idea: The idea that negation is, or can be, a cancellation device raises an interesting question. What does one do to wipe the slate clean after an improper assertion? Not-A is too strong; it reverses our stand on A rather than nullifying it. | |
| From: Stephen Yablo (Aboutness [2014], 09.8) | |
| A reaction: [He is discussing a remark of Strawson 1952] It seems that 'not' has two meanings or uses: a weak use of 'nullifying' an assertion, and a strong use of 'reversing' an assertion. One could do both: 'that's not right; in fact, it's just the opposite'. |
| 18549 | Nineteenth century aesthetics focused on art rather than nature (thanks to Hegel) [Hegel, by Scruton] |
| Full Idea: Only In the course of the nineteenth century, and in the wake of Hegel's posthumously published lectures on aesthetics, did the topic of art come to replace that of natural beauty as the core subject-matter of aesthetics. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826], 5) by Roger Scruton - Beauty: a very short introduction |
| 22043 | Hegel largely ignores aesthetic pleasure, taste and beauty, and focuses on the meaning of artworks [Hegel, by Pinkard] |
| Full Idea: Unlike his predecessors (including Kant), Hegel does not focus on aesthetic pleasure, nor on good taste, nor even on the nature and criteria for beauty. Instead he focuses on the meaning of artworks and their role in forming mankind's self-consciousness. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Personally I dislike over-intellectualising art. The aim of a work of art is to give a certain experience, not to generate an ensuing sequence of theorising. I doubt whether Vermeer had any 'meaning' in mind in his obsessive work. |
| 22042 | Natural beauty is unimportant, because it doesn't show human freedom [Hegel, by Pinkard] |
| Full Idea: Hegel thinks that natural beauty is of no real significance since it cannot display our freedom to us; nature per se is meaningless. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Presumably freedom is in the creation, and so creativity is what matters in aesthetics. But what are the criteria of good creativity? |
| 20413 | For Hegel the importance of art concerns the culture, not the individual [Hegel, by Eldridge] |
| Full Idea: Hegel locates the significance of art in its role in cultural life in general, not in relation to the psychological needs of individuals. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Richard Eldridge - G.W.F. Hegel (aesthetics) 1 | |
| A reaction: I'm beginning to see that art is a wonderful focus and test case for political attitudes. Roughly, liberalism focuses on individual responses, but more societal views (from right and left) see it in terms of role in the community. Which are you? |
| 20394 | The purpose of art is to reveal to Spirit its own nature [Hegel, by Davies,S] |
| Full Idea: According to Hegel, the goal of art was to serve as a phase in a process by which Spirit would come to understand its own nature. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Stephen Davies - The Philosophy of Art (2nd ed) 2.7 | |
| A reaction: I try very hard to understand ideas like this. Really really hard. However, since I see little sign of 'Spirit' really understanding its own nature, I'm guessing that the project is not going well. |
| 21794 | The main purpose of art is to express the unity of human life [Hegel] |
| Full Idea: Art's primary function, for Hegel, is to give expression to the unity and wholeness of life - especially human life - that the contingencies of everyday existence frequently conceal. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826]), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Beauty' | |
| A reaction: I don't find the view that human life is 'unified' and 'whole' vary illuminating, and I have no objection to art which reflects the fragmentary and unstable aspects of life. I suspect Hegel would just prefer it if life were a unity. |
| 20415 | Art forms a bridge between the sensuous world and the world of pure thought [Hegel] |
| Full Idea: Spirit generates out of itself works of fine art as the first reconciling middle term between pure thought and what is merely external, sensuous and transient - between finite natural reality and the infinite freedom of conceptual thinking. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], p.8), quoted by Richard Eldridge - G.W.F. Hegel (aesthetics) | |
| A reaction: This apparently says that there is necessarily an intellectual and conceptual component in art. This means little to me. Does he include portraits? Dutch domestic scenes? Would photography qualify? |
| 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'). |