12 ideas
| 10735 | Abstraction from objects won't reveal an operation's being performed 'so many times' [Geach] |
| Full Idea: For an understanding of arithmetic the grasp of an operation's being performed 'so many times' is quite indispensable; and abstraction of a feature from groups of nuts cannot give us this grasp. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.170) | |
| A reaction: I end up defending the empirical approach to arithmetic because remarks like this are so patently false. Geach seems to think we arrive ready-made in the world, just raring to get on with some counting. He lacks the evolutionary perspective. |
| 10732 | If concepts are just recognitional, then general judgements would be impossible [Geach] |
| Full Idea: If concepts were nothing but recognitional capacities, then it is unintelligible that I can judge that cats eat mice when neither of them are present. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.164) | |
| A reaction: Having observed the importance of recognition for the abstractionist (Idea 10731), he then seems to assume that there is nothing more to their concepts. Geach fails to grasp levels of abstraction, and cross-reference, and generalisation. |
| 10731 | For abstractionists, concepts are capacities to recognise recurrent features of the world [Geach] |
| Full Idea: For abstractionists, concepts are essentially capacities for recognizing recurrent features of the world. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.163) | |
| A reaction: Recognition certainly strikes me as central to thought (and revelatory of memory, since we continually recognise what we cannot actually recall). Geach dislikes this view, but I see it as crucial to an evolutionary view of thought. |
| 10733 | The abstractionist cannot explain 'some' and 'not' [Geach] |
| Full Idea: The abstractionist cannot give a logically coherent account of the features that are supposed to be reached by discriminative attention, corresponding to the words 'some' and 'not'. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.167) | |
| A reaction: I understand 'some' in terms of mereology, because that connects to experience, and 'not' I take to derive more from psychological experience than from the physical world, building on thwarted expectation, which even animals experience. |
| 10734 | Only a judgement can distinguish 'striking' from 'being struck' [Geach] |
| Full Idea: To understand the verb 'to strike' we must see that 'striking' and 'being struck' are different, but necessarily go together in event and thought; only in the context of a judgment can they be distinguished, when we think of both together. | |
| From: Peter Geach (Abstraction Reconsidered [1983], p.168) | |
| A reaction: Geach seems to have a strange notion that judgements are pure events which can precede all experience, and are the only ways we can come to understand experience. He needs to start from animals (or 'brutes', as he still calls them!). |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 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. |