16984
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I don't think possible worlds reductively reveal the natures of modal operators etc. [Kripke]
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Full Idea:
I do not think of 'possible worlds' as providing a reductive analysis in any philosophically significant sense, that is, as uncovering the ultimate nature, from either an epistemological or a metaphysical view, of modal operators, propositions etc.
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From:
Saul A. Kripke (Naming and Necessity preface [1980], p.19 n18)
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A reaction:
I think this remark opens the door for Kit Fine's approach, of showing what modality is by specifying its sources. Possible worlds model the behaviour of modal inferences.
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9385
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The very act of designating of an object with properties gives knowledge of a contingent truth [Kripke]
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Full Idea:
If a speaker introduced a designator into a language by a ceremony, then in virtue of his very linguistic act, he would be in a position to say 'I know that Fa', but nevertheless 'Fa' would be a contingent truth (provided F is not an essential property).
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From:
Saul A. Kripke (Naming and Necessity preface [1980], p.14)
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A reaction:
If someone else does the designation, I seem to have contingent knowledge that the ceremony has taken place. You needn't experience the object, but you must experience the ceremony, even if you perform it.
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16983
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Probability with dice uses possible worlds, abstractions which fictionally simplify things [Kripke]
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Full Idea:
In studying probabilities with dice, we are introduced at a tender age to a set of 36 (miniature) possible worlds, if we (fictively) ignore everything except the two dice. …The possibilities are abstract states of the dice, not physical entities.
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From:
Saul A. Kripke (Naming and Necessity preface [1980], p.16)
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A reaction:
Interesting for the introduction by the great man of the words 'fictional' and 'abstract' into the discussion. He says elsewhere that he takes worlds to be less than real, but more than mere technical devices.
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8119
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Art aims only at beauty, of form, of idea, and (above all) of expression [Winckelmann, by Tolstoy]
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Full Idea:
According to Winckelmann, the law and aim of all art is beauty, independent of goodness. The three kinds of beauty are of form, of idea, and of expression (the highest aim, attainable only when the other two are present).
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From:
report of Johann Winckelmann (History of Ancient Art [1764]) by Leo Tolstoy - What is Art? Ch.3
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A reaction:
This sounds very like 'art for art's sake', but a hundred years earlier. This is quite a good distinction, and I particularly like the 'beauty of idea', which is often overlooked.
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7903
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The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna]
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Full Idea:
The six perfections are of giving, morality, patience, vigour, meditation, and wisdom.
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From:
Nagarjuna (Mahaprajnaparamitashastra [c.120], 88)
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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').
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