8 ideas
| 9935 | Mathematical truth is always compromising between ordinary language and sensible epistemology [Benacerraf] |
| Full Idea: Most accounts of the concept of mathematical truth can be identified with serving one or another of either semantic theory (matching it to ordinary language), or with epistemology (meshing with a reasonable view) - always at the expense of the other. | |
| From: Paul Benacerraf (Mathematical Truth [1973], Intro) | |
| A reaction: The gist is that language pulls you towards platonism, and epistemology pulls you towards empiricism. He argues that the semantics must give ground. He's right. |
| 17927 | Realists have semantics without epistemology, anti-realists epistemology but bad semantics [Benacerraf, by Colyvan] |
| Full Idea: Benacerraf argues that realists about mathematical objects have a nice normal semantic but no epistemology, and anti-realists have a good epistemology but an unorthodox semantics. | |
| From: report of Paul Benacerraf (Mathematical Truth [1973]) by Mark Colyvan - Introduction to the Philosophy of Mathematics 1.2 |
| 9936 | The platonist view of mathematics doesn't fit our epistemology very well [Benacerraf] |
| Full Idea: The principle defect of the standard (platonist) account of mathematical truth is that it appears to violate the requirement that our account be susceptible to integration into our over-all account of knowledge. | |
| From: Paul Benacerraf (Mathematical Truth [1973], III) | |
| A reaction: Unfortunately he goes on to defend a causal theory of justification (fashionable at that time, but implausible now). Nevertheless, his general point is well made. Your theory of what mathematics is had better make it knowable. |
| 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. |
| 3236 | Equality of opportunity without equality of respect would create a very inhuman society [Williams,B] |
| Full Idea: A highly rational, efficient and unmitigated application of the idea of equality of opportunity, while abandoning the idea of equality of respect as vague and nostalgic, would lead to a quite inhuman society. | |
| From: Bernard Williams (The Idea of Equality [1962], §3) |
| 3234 | Equality seems to require that each person be acknowledged as having a significant point of view [Williams,B] |
| Full Idea: Equality seems to require that each person is owed an effort at identification; they should not be seen as a surface to which a label can be applied, but one should try to see the world (including the label) from their point of view. | |
| From: Bernard Williams (The Idea of Equality [1962], §2) |
| 3233 | Equality implies that people are alike in potential as well as in needs [Williams,B] |
| Full Idea: Supporters of equality have asserted that people are alike in certain things they could do or achieve, as well as in the things that they need and could suffer. | |
| From: Bernard Williams (The Idea of Equality [1962], §2) |
| 3235 | It is a mark of extreme exploitation that the sufferers do not realise their plight [Williams,B] |
| Full Idea: It is a mark of extreme exploitation or degradation that those who suffer it do NOT see themselves differently from the way they are seen by the exploiters. | |
| From: Bernard Williams (The Idea of Equality [1962], §2) |