15 ideas
| 17499 | Theoretical models can represent, by mapping onto the data-models [Portides] |
| Full Idea: The semantic approach contends that theoretical models ...are candidates for representing physical systems by virtue of the fact that they stand in mapping relations to corresponding data-models. | |
| From: Demetris Portides (Models [2008], 'Current') | |
| A reaction: Sounds like a neat and satisfying picture. |
| 17498 | In the 'received view' models are formal; the 'semantic view' emphasises representation [Portides, by PG] |
| Full Idea: The 'received view' of models is that they are Tarskian formal axiomatic calculi interpreted by meta-mathematical models. The 'semantic' view of models gives equal importance to their representational capacity. | |
| From: report of Demetris Portides (Models [2008], 'background') by PG - Db (ideas) | |
| A reaction: The Tarskian view is the one covered in my section on Model Theory. Portides favours the semantic account, and I am with him all the way. Should models primarily integrate with formal systems, or with the world? Your choice... |
| 17501 | Representational success in models depends on success of their explanations [Portides] |
| Full Idea: Models are representational, independently of the strength of their relation to theory, depending on how well they achieve the purpose of providing explanations for what occurs in physical systems. | |
| From: Demetris Portides (Models [2008], 'Current') | |
| A reaction: This doesn't sound quite right. It seems possible to have a perfect representation of a system which remains quite baffling (because too complex, or with obscure ingredients). Does the stylised London tube map explain well but represent badly? |
| 17502 | The best model of the atomic nucleus is the one which explains the most results [Portides] |
| Full Idea: The unified model can be considered a better representation of the atomic nucleus in comparison to the liquid-drop and shell models, because it explains most of the known results about the nucleus. | |
| From: Demetris Portides (Models [2008], 'Current') | |
| A reaction: The point here is that models are evaluated not just by their accuracy, but by their explanatory power. Presumably a great model is satisfying and illuminating. Do the best models capture the essence of a thing? |
| 17496 | 'Model' belongs in a family of concepts, with representation, idealisation and abstraction [Portides] |
| Full Idea: A better understanding of 'model', as used in science, could be achieved if we examine it as a member of the triad of concepts of representation, idealisation and abstraction. | |
| From: Demetris Portides (Models [2008], 'Intro') | |
| A reaction: Abstraction seems to have a bad name in philosophy, and yet when you come to discuss things like models, you can't express it any other way. |
| 17497 | Models are theory-driven, or phenomenological (more empirical and specific) [Portides] |
| Full Idea: 'Theory-driven' models are constructed in a systematic theory-regulated way by supplementing the theoretical calculus with locally operative hypotheses. 'Phenomenological' models deploy semi-empirical results, with ad hoc hypotheses, and extra concepts. | |
| From: Demetris Portides (Models [2008], 'Intro') | |
| A reaction: [compressed] I am not at all clear about this distinction, even after reading his whole article. The first type of model seems more general, while the second seems tuned to particular circumstances. He claims the second type is more explanatory. |
| 17500 | General theories may be too abstract to actually explain the mechanisms [Portides] |
| Full Idea: If theoretical models are highly abstract and idealised descriptions of phenomena, they may only represent general features, and fail to explain the specific mechanisms at work in physical systems. | |
| From: Demetris Portides (Models [2008], 'Current') | |
| A reaction: [compressed] While there may be an ideal theory that explains everything, it sounds right capturing the actual mechanism (such as the stirrup bone in the ear) is not at all theoretical. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 13304 | Learned men gain more in one day than others do in a lifetime [Posidonius] |
| Full Idea: In a single day there lies open to men of learning more than there ever does to the unenlightened in the longest of lifetimes. | |
| From: Posidonius (fragments/reports [c.95 BCE]), quoted by Seneca the Younger - Letters from a Stoic 078 | |
| A reaction: These remarks endorsing the infinite superiority of the educated to the uneducated seem to have been popular in late antiquity. It tends to be the religions which discourage great learning, especially in their emphasis on a single book. |
| 20820 | Time is an interval of motion, or the measure of speed [Posidonius, by Stobaeus] |
| Full Idea: Posidonius defined time thus: it is an interval of motion, or the measure of speed and slowness. | |
| From: report of Posidonius (fragments/reports [c.95 BCE]) by John Stobaeus - Anthology 1.08.42 | |
| A reaction: Hm. Can we define motion or speed without alluding to time? Looks like we have to define them as a conjoined pair, which means we cannot fully understand either of them. |