8 ideas
| 19489 | For me, fictions are internally true, without a significant internal or external truth-value [Yablo] |
| Full Idea: A 'myth' or fiction for me is a true internal statement (a statement endorsed by the rules) whose external truth value is as may be, the point being that that truth value is from an internal standpoint quite irrelevant. | |
| From: Stephen Yablo (Does Ontology Rest on a Mistake? [1998], IX) | |
| A reaction: This contrasts with Carnap, for whom talk of 'ghosts' is false in an internal thing-framework. Yablo seems here to say a statement can be true while having no truth value. Presumably he is relaxing the internal rules. |
| 19490 | Make-believe can help us to reason about facts and scientific procedures [Yablo] |
| Full Idea: Make-believe games can make it easier to reason about facts, to systematize them, to visualize them, to spot connections with other facts, and to evaluate potential lines of research. | |
| From: Stephen Yablo (Does Ontology Rest on a Mistake? [1998], XI) | |
| A reaction: This is the key pragmatic defence of the fictionalist view of abstract objects. Fictions are devices to help us think better. I think a lot of ontology turns out that way. |
| 19491 | 'The clouds are angry' can only mean '...if one were attributing emotions to clouds' [Yablo] |
| Full Idea: It is an open question whether the clouds that we call 'angry' are literally F, for any F other than 'such that it would be natural and proper to regard them as angry if one were going to attribute emotions to clouds'. | |
| From: Stephen Yablo (Does Ontology Rest on a Mistake? [1998], XII) | |
| A reaction: His point is that it is TRUE, in those circumstances, that the clouds are angry. Thus fictions are a valid and useful part of ordinary sensible course, giving real information. I like it. |
| 12314 | Audience-relative explanation, or metaphysical explanation based on information? [Stanford] |
| Full Idea: Rather than an 'interest-relative' notion of explanation (Putnam), it can be informational content which makes an explanation, which is an 'audience-invariant' contraint, which is not pragmatic, but mainly epistemological and also partly metaphysical. | |
| From: Michael Stanford (Explanation: the state of play [1991], p.172) | |
| A reaction: [compressed summary of Ruben 1990] Examples given are that Rome burning explains Nero fiddling, even if no one ever says so, and learning that George III had porphyria explains his madness. |
| 12313 | Explanation is for curiosity, control, understanding, to make meaningful, or to give authority [Stanford] |
| Full Idea: There are a number of reasons why we explain: out of sheer curiosity, to increase our control of a situation, to help understanding by simplifying or making familiar, to confer meaning or significance, and to give scientific authority to some statement. | |
| From: Michael Stanford (Explanation: the state of play [1991], p.172) |
| 12315 | We can explain by showing constitution, as well as showing causes [Stanford] |
| Full Idea: The powerful engine of my car can be explained by an examination of each of its parts, but it is not caused by them. They do not cause the engine; they constitute it. | |
| From: Michael Stanford (Explanation: the state of play [1991], p.174) | |
| A reaction: [example from Ruben 1990:221] This could be challenged, since there is clearly a causal connection between the constitution and the whole. We distinguish engine parts which contribute to the power from those which do not. |
| 12156 | Aesthetics has risen and fallen with Romanticism [Scruton] |
| Full Idea: The rise and fall (as we presently perceive them) of aesthetics have been contemporaneous with the rise and fall of Romanticism. | |
| From: Roger Scruton (Recent Aesthetics in England and America [1980], p.3) | |
| A reaction: Maybe it started a little before Romanticism, as part of the Englightenment aim of being rational about everything, and maybe it survives Romanticism because we want to be scientific about everything. |
| 12158 | Aesthetic experience informs the world with the values of the observer [Scruton] |
| Full Idea: It is possible to conclude that aesthetic experience has a peculiar practical significance: it represents the world as informed by the values of the observer. | |
| From: Roger Scruton (Recent Aesthetics in England and America [1980], p.13) | |
| A reaction: An excellent remark. If you look at, or listen to, anything, you can make a conscious effort to drain away your personal values (objectivity; science?), or you can consciously flood them with values. But moral and aesthetic vision must differ... |