10 ideas
| 15787 | Maybe Ockham's Razor is a purely aesthetic principle [Lycan] |
| Full Idea: It might be said that Ockham's Razor is a purely aesthetic principle. | |
| From: William Lycan (The Trouble with Possible Worlds [1979], 02) | |
| A reaction: I don't buy this, if it meant to be dismissive of the relevance of the principle to truth. A deep question might be, what is so aesthetically attractive about simplicity? I'm inclined to think that application of the Razor has delivered terrific results. |
| 15784 | The Razor seems irrelevant for Meinongians, who allow absolutely everything to exist [Lycan] |
| Full Idea: A Meinongian has already posited everything that could, or even could not, be; how, then, can any subsequent brandishing of Ockham's Razor be to the point? | |
| From: William Lycan (The Trouble with Possible Worlds [1979], 02) | |
| A reaction: See the ideas of Alexius Meinong. Presumably these crazy Meinongians must make some distinction between what actually exists in front of your nose, and the rest. So the Razor can use that distinction too. |
| 15792 | Maybe non-existent objects are sets of properties [Lycan] |
| Full Idea: Meinong's Objects have sometimes been construed as sets of properties. | |
| From: William Lycan (The Trouble with Possible Worlds [1979], 09) | |
| A reaction: [Lycan cites Castaņeda and T.Parsons] You still seem to have the problem with any 'bundle' theory of anything. A non-existent object is as much intended to be an object as anything on my desk right now. It just fails to be. |
| 15795 | Treating possible worlds as mental needs more actual mental events [Lycan] |
| Full Idea: A mentalistic approach to possible worlds is daunted by the paucity of actual mental events. | |
| From: William Lycan (The Trouble with Possible Worlds [1979], 09) | |
| A reaction: Why do they have to be actual, any more than memories have to be conscious? The mental events just need to be available when you need them. They are never all required simultaneously. This isn't mathematical logic! |
| 15796 | Possible worlds must be made of intensional objects like propositions or properties [Lycan] |
| Full Idea: I believe the only promising choice of actual entities to serve as 'worlds' is that of sets of intensional objects, such as propositions or properties with stipulated interrelations. | |
| From: William Lycan (The Trouble with Possible Worlds [1979], 12) | |
| A reaction: This is mainly in response to Lewis's construction of them out of actual concrete objects. It strikes me as a bogus problem. It is just a convenient way to think precisely about possibilities, and occasionally outruns our mental capacity. |
| 15794 | If 'worlds' are sentences, and possibility their consistency, consistency may rely on possibility [Lycan] |
| Full Idea: If a 'world' is understood as a set of sentences, then possibility may be understood as consistency, ...but this seems circular, in that 'consistency' of sentences cannot adequately be defined save in terms of possibility. | |
| From: William Lycan (The Trouble with Possible Worlds [1979], 09) | |
| A reaction: [Carnap and Hintikka propose the view, Lewis 'Counterfactuals' p.85 objects] Worlds as sentences is not, of course, the same as worlds as propositions. There is a lot of circularity around in 'possible' worlds. |
| 8063 | Baumgarten founded aesthetics in 1750 [Baumgarten, by Tolstoy] |
| Full Idea: Baumgarten founded aesthetics in the year 1750. | |
| From: report of Alexander Baumgarten (Aesthetica [1739]) by Leo Tolstoy - What is Art? Ch.2 | |
| A reaction: He gave it a label, separated it off from the rest of philosophy, and made taste the main focus. The philosophy of art goes back to at least Plato's 'Republic' and 'Symposium'. |
| 8118 | Beauty is an order between parts, and in relation to the whole [Baumgarten, by Tolstoy] |
| Full Idea: Beauty is defined by Baumgarten as a correspondence, that is, an order of parts in their mutual relations to each other and in their relation to the whole. | |
| From: report of Alexander Baumgarten (Aesthetica [1739]) by Leo Tolstoy - What is Art? Ch.3 | |
| A reaction: This may be one aspect of what is beautiful, but rather more than a nice arrangement is probably needed for art. We must distinguish flower arranging from poetic drama. Some masterpieces are rather messily arranged. |
| 8117 | Perfection comes through the senses (Beauty), through reason (Truth), and through moral will (Good) [Baumgarten, by Tolstoy] |
| Full Idea: For Baumgarten, Beauty is the Perfect (the Absolute), recognised through the senses; Truth is the Perfect perceived through reason; Goodness is the Perfect reached by moral will. | |
| From: report of Alexander Baumgarten (Aesthetica [1739]) by Leo Tolstoy - What is Art? Ch.3 | |
| A reaction: At last, after many years of searching, I have found the origin of that great trio of ideals: Beauty, Goodness and Truth. Tolstoy sneers at them, but a person could do a lot worse than spending their lives trying to promote them. |
| 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'). |