16 ideas
| 9331 | How do we determine which of the sentences containing a term comprise its definition? [Horwich] |
| Full Idea: How are we to determine which of the sentences containing a term comprise its definition? | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §2) | |
| A reaction: Nice question. If I say 'philosophy is the love of wisdom' and 'philosophy bores me', why should one be part of its definition and the other not? What if I stipulated that the second one is part of my definition, and the first one isn't? |
| 9333 | A priori belief is not necessarily a priori justification, or a priori knowledge [Horwich] |
| Full Idea: It is one thing to believe something a priori and another for this belief to be epistemically justified. The latter is required for a priori knowledge. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: Personally I would agree with this, because I don't think anything should count as knowledge if it doesn't have supporting reasons, but fans of a priori knowledge presumably think that certain basic facts are just known. They are a priori justified. |
| 9342 | Understanding needs a priori commitment [Horwich] |
| Full Idea: Understanding is itself based on a priori commitment. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: This sounds plausible, but needs more justification than Horwich offers. This is the sort of New Rationalist idea I associate with Bonjour. The crucial feature of the New lot is, I take it, their fallibilism. All understanding is provisional. |
| 9332 | Meaning is generated by a priori commitment to truth, not the other way around [Horwich] |
| Full Idea: Our a priori commitment to certain sentences is not really explained by our knowledge of a word's meaning. It is the other way around. We accept a priori that the sentences are true, and thereby provide it with meaning. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: This sounds like a lovely trump card, but how on earth do you decide that a sentence is true if you don't know what it means? Personally I would take it that we are committed to the truth of a proposition, before we have a sentence for it. |
| 9341 | Meanings and concepts cannot give a priori knowledge, because they may be unacceptable [Horwich] |
| Full Idea: A priori knowledge of logic and mathematics cannot derive from meanings or concepts, because someone may possess such concepts, and yet disagree with us about them. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: A good argument. The thing to focus on is not whether such ideas are a priori, but whether they are knowledge. I think we should employ the word 'intuition' for a priori candidates for knowledge, and demand further justification for actual knowledge. |
| 9334 | If we stipulate the meaning of 'number' to make Hume's Principle true, we first need Hume's Principle [Horwich] |
| Full Idea: If we stipulate the meaning of 'the number of x's' so that it makes Hume's Principle true, we must accept Hume's Principle. But a precondition for this stipulation is that Hume's Principle be accepted a priori. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §9) | |
| A reaction: Yet another modern Quinean argument that all attempts at defining things are circular. I am beginning to think that the only a priori knowledge we have is of when a group of ideas is coherent. Calling it 'intuition' might be more accurate. |
| 9339 | A priori knowledge (e.g. classical logic) may derive from the innate structure of our minds [Horwich] |
| Full Idea: One potential source of a priori knowledge is the innate structure of our minds. We might, for example, have an a priori commitment to classical logic. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §11) | |
| A reaction: Horwich points out that to be knowledge it must also say that we ought to believe it. I'm wondering whether if we divided the whole territory of the a priori up into intuitions and then coherent justifications, the whole problem would go away. |
| 2799 | Bayes' theorem explains why very surprising predictions have a higher value as evidence [Horwich] |
| Full Idea: Bayesianism can explain the fact that in science surprising predictions have greater evidential value, as the equation produces a higher degree of confirmation. | |
| From: Paul Horwich (Bayesianism [1992], p.42) |
| 2798 | Probability of H, given evidence E, is prob(H) x prob(E given H) / prob(E) [Horwich] |
| Full Idea: Bayesianism says ideally rational people should have degrees of belief (not all-or-nothing beliefs), corresponding with probability theory. Probability of H, given evidence E, is prob(H) X prob(E given H) / prob(E). | |
| From: Paul Horwich (Bayesianism [1992], p.41) |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |