19 ideas
| 17651 | Without words or other symbols, we have no world [Goodman] |
| Full Idea: We can have words without a world but no world without words or other symbols. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.3) | |
| A reaction: Goodman seems to have a particularly extreme version of the commitment to philosophy as linguistic. Non-human animals have no world, it seems. |
| 17652 | Truth is irrelevant if no statements are involved [Goodman] |
| Full Idea: Truth pertains solely to what is said ...For nonverbal versions and even for verbal versions without statements, truth is irrelevant. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.5) | |
| A reaction: Goodman is a philosopher of language (like Dummett), but I am a philosopher of thought (like Evans). The test, for me, is whether truth is applicable to the thought of non-human animals. I take it to be obvious that it is applicable. |
| 17656 | Being primitive or prior always depends on a constructional system [Goodman] |
| Full Idea: Nothing is primitive or derivationally prior to anything apart from a constructional system. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4c) | |
| A reaction: Something may be primitive not just because we can't be bothered to analyse it any further, but because even God couldn't analyse it. Maybe. |
| 17661 | We don't recognise patterns - we invent them [Goodman] |
| Full Idea: Recognising patterns is very much a matter of inventing or imposing them. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.7) | |
| A reaction: I take this to be false. |
| 17659 | Reality is largely a matter of habit [Goodman] |
| Full Idea: Reality in a world, like realism in a picture, is largely a matter of habit. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.6) | |
| A reaction: I'm a robust realist, me, but I sort of see what he means. We become steeped in unspoken conventions about how we take our world to be, and filter out anything that conflicts with it. |
| 17657 | We build our world, and ignore anything that won't fit [Goodman] |
| Full Idea: We dismiss as illusory or negligible what cannot be fitted into the architecture of the world we are building. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4d) | |
| A reaction: I'm trying to think of an example of this, but can't. Maybe poor people are invisible to the rich? |
| 17654 | A world can be full of variety or not, depending on how we sort it [Goodman] |
| Full Idea: A world may be unmanageably heterogeneous or unbearably monotonous according to how events are sorted into kinds. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4a) | |
| A reaction: We might expect this from the man who invented 'grue', which allows you to classify things that change colour with things that don't. Could you describe a bird as 'might have been a fish', and classify it with fish? ('Projectible'?) |
| 17653 | Things can only be judged the 'same' by citing some respect of sameness [Goodman] |
| Full Idea: Identification rests upon organization into entities and kinds. The response to the question 'Same or not the same?' must always be 'Same what?'. ...Identity or constancy in a world is identity with respect to what is within that world as organised. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4a) | |
| A reaction: And the gist of his book is that 'organised' is done by us, not by the world. He seems to be committed to the full Geachean relative identity, rather than the mere Wigginsian relative individuation. An unfashionable view! |
| 17660 | Discovery is often just finding a fit, like a jigsaw puzzle [Goodman] |
| Full Idea: Discovery often amounts, as when I place a piece in a jigsaw puzzle, not to arrival at a proposition for declaration or defense, but to finding a fit. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.7) | |
| A reaction: I find Goodman's views here pretty alien, but I like this bit. Coherence really rocks. |
| 17658 | Users of digital thermometers recognise no temperatures in the gaps [Goodman] |
| Full Idea: To use a digital thermometer with readings in tenths of a degree is to recognise no temperature as lying between 90 and 90.1 degrees. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4d) | |
| A reaction: This appears to be nonsense, treating users of digital thermometers as if they were stupid. No one thinks temperatures go up and down in quantum leaps. We all know there is a gap between instrument and world. (Very American, I'm thinking!) |
| 17650 | We lack frames of reference to transform physics, biology and psychology into one another [Goodman] |
| Full Idea: We have no neat frames of reference, no ready rules for transforming physics, biology and psychology into one another. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.2) |
| 17655 | Grue and green won't be in the same world, as that would block induction entirely [Goodman] |
| Full Idea: Grue cannot be a relevant kind for induction in the same world as green, for that would preclude some of the decisions, right or wrong, that constitute inductive inference. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.4b) | |
| A reaction: This may make 'grue' less mad than I thought it was. I always assume we are slicing the world as 'green, blue and grue'. I still say 'green' is a basic predicate of experience, but 'grue' is amenable to analysis. |
| 14739 | 'Water' is two-dimensionally inconstant, with different intensions in different worlds [Chalmers, by Sider] |
| Full Idea: For Chalmers, 'water' is two-dimensionally inconstant, in that it has different secondary intensions relative to different worlds of utterance. | |
| From: report of David J.Chalmers (Foundations of Two-Dimensional Semantics [2006]) by Theodore Sider - Four Dimensionalism 7.2 | |
| A reaction: In this way 'water' is regarded as being like an indexical (such as 'I'), which has a fixed meaning component, and a second component which varies with different utterances. Maybe. |
| 12163 | Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton] |
| Full Idea: We must discover the meanings that emerge when works of literature are experience in relation to each other. ...The importance of tradition is that it denotes - ideally, at least - the class of relevant comparisons. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.27) | |
| A reaction: This is a nice attempt to explain why we all agree that a thorough education in an art is an essential prerequisite for good taste. Some people (e.g. among the young) seem to have natural good taste. How does that happen? |
| 12162 | In literature, word replacement changes literary meaning [Scruton] |
| Full Idea: In literary contexts semantically equivalent words cannot replace each other without loss of literary meaning. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.25) | |
| A reaction: The notion of 'literary meaning' is not a standard one, and is questionable whether 'meaning' is the right word, given that a shift in word in a poem is as much to do with sound as with connotations. |
| 12159 | Without intentions we can't perceive sculpture, but that is not the whole story [Scruton] |
| Full Idea: A person for whom it made no difference whether a sculpture was carved by wind and rain or by human hand would be unable to interpret or perceive sculptures - even though the interpretation of sculpture is not the reading of an intention. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.15) | |
| A reaction: Scruton compares it to the role of intention in language, where there is objective meaning, even though intention is basic to speech. |
| 12160 | In aesthetic interest, even what is true is treated as though it were not [Scruton] |
| Full Idea: In aesthetic interest, even what is true is treated as though it were not. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.18) | |
| A reaction: A nice aphorism. I always feel uncomfortable reading novels about real people, although the historical Macbeth doesn't bother me much. Novels are too close to reality. Macbeth didn't speak blank verse. |
| 12161 | We can be objective about conventions, but love of art is needed to understand its traditions [Scruton] |
| Full Idea: An historian can elucidate convention while having no feeling for the art that exploits it; whereas an understanding of tradition is reserved for those with the critical insight which comes from the love of art, both past and present. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.24) | |
| A reaction: This aesthetic observation is obviously close to Scruton's well-known conservatism in politics. I am doubtful whether the notion of 'tradition' can stand up to close examination, though we all know roughly what he means. |
| 17649 | If the world is one it has many aspects, and if there are many worlds they will collect into one [Goodman] |
| Full Idea: If there is but one world, it embraces a multiplicity of contrasting aspects; if there are many worlds, the collection of them all is one. One world may be taken as many, or many worlds taken as one; whether one or many depends on the way of taking. | |
| From: Nelson Goodman (Ways of Worldmaking [1978], 1.2) | |
| A reaction: He cites 'The Pluralistic Universe' by William James for this idea. The idea is that the distinction 'evaporates under analysis'. Parmenides seems to have thought that no features could be distinguished in the true One. |