7 ideas
| 15457 | Interdefinition is useless by itself, but if we grasp one separately, we have them both [Lewis] |
| Full Idea: All circles of interdefinition are useless by themselves. But if we reach one of the interdefined pair, then we have them both. | |
| From: David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998], IV) |
| 15400 | We must avoid circularity between what is intrinsic and what is natural [Lewis, by Cameron] |
| Full Idea: Lewis revised his analysis of duplication because he had assumed that as a matter of necessity perfectly natural properties are intrinsic, and that necessarily how a thing is intrinsically is determined completely by the natural properties it has. | |
| From: report of David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998]) by Ross P. Cameron - Intrinsic and Extrinsic Properties 'Analysis' | |
| A reaction: [This compares Lewis 1986:61 with Langton and Lewis 1998] I am keen on both intrinsic and on natural properties, but I have not yet confronted this little problem. Time for a displacement activity, I think.... |
| 15458 | A property is 'intrinsic' iff it can never differ between duplicates [Lewis] |
| Full Idea: A property is 'intrinsic' iff it never can differ between duplicates; iff whenever two things (actual or possible) are duplicates, either both of them have the property or both of them lack it. | |
| From: David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998], IV) | |
| A reaction: This leaves me wondering how one could arrive at a precise definition of 'duplicates'. Can it be done without mentioning that they have the same intrinsic properties? |
| 15459 | Ellipsoidal stars seem to have an intrinsic property which depends on other objects [Lewis] |
| Full Idea: The property of being an ellipsoidal star would seem offhand to be a basic intrinsic property, but it is incompatible (nomologically) with being an isolated object. | |
| From: David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998], V) | |
| A reaction: Another nice example from Lewis. It makes you wonder whether the intrinsic/extrinsic distinction should go. Modern physics, with its 'entanglements', doesn't seem to suit the distinction. |
| 14894 | Indexicals have a 'character' (the standing meaning), and a 'content' (truth-conditions for one context) [Kaplan, by Macià/Garcia-Carpentiro] |
| Full Idea: Kaplan distinguished two different semantic features of indexical expressions: a 'character' that captures the standing meaning of the expression, and a 'content' that consists of their truth-conditional contribution in particular contexts. | |
| From: report of David Kaplan (Demonstratives [1989]) by Macià/Garcia-Carpentiro - Introduction to 'Two-Dimensional Semantics' 1 | |
| A reaction: This seems so clearly right that there isn't much to dispute. You can't understand the word 'I' or 'now' if you don't understand both its general purpose, and what it is doing in a particular utterance. But will this generalise to other semantics? |
| 14700 | 'Content' gives the standard modal profile, and 'character' gives rules for a context [Kaplan, by Schroeter] |
| Full Idea: Kaplan sees two aspects of meaning, the 'content', reflecting a thing's modal profile, which is modelled by standard possible worlds semantics, and 'character', giving rules for different contexts. Proper names have constant character; indexicals vary. | |
| From: report of David Kaplan (Demonstratives [1989]) by Laura Schroeter - Two-Dimensional Semantics 1.1.1 | |
| A reaction: This gives rise to 2-D matrices for representing meaning, and the possible worlds are used twice, for evaluating meaning and then for evaluating context of use. I've always been struck by the two-dimensional semantics of passwords. |
| 8113 | Art is like understanding a natural language, and needs a grasp of a symbol system [Goodman, by Gardner] |
| Full Idea: In Goodman's account, knowing what a painting represents is logically like understanding a sentence in a natural language. It requires a grasp of the 'symbol system' to which the painting belongs. | |
| From: report of Nelson Goodman (The Languages of Art [1976]) by Sebastian Gardner - Aesthetics 2.3.2 | |
| A reaction: This may fit some pictures well (e.g. early Flemish painting, with its complex iconography), but others hardly at all. You can enjoy a first experience of (say) ballet long before you get the hang of the 'symbol system' involved. |