9 ideas
| 23476 | Logical constants seem to be entities in propositions, but are actually pure form [Russell] |
| Full Idea: 'Logical constants', which might seem to be entities occurring in logical propositions, are really concerned with pure form, and are not actually constituents of the propositions in the verbal expressions of which their names occur. | |
| From: Bertrand Russell (The Theory of Knowledge [1913], 1.IX) | |
| A reaction: This seems to entirely deny the existence of logical constants, and yet he says that they are named. Russell was obviously under pressure here from Wittgenstein. |
| 23477 | We use logical notions, so they must be objects - but I don't know what they really are [Russell] |
| Full Idea: Such words as or, not, all, some, plainly involve logical notions; since we use these intelligently, we must be acquainted with the logical objects involved. But their isolation is difficult, and I do not know what the logical objects really are. | |
| From: Bertrand Russell (The Theory of Knowledge [1913], 1.IX) | |
| A reaction: See Idea 23476, from the previous page. Russell is struggling. Wittgenstein was telling him that the constants are rules (shown in truth tables), rather than objects. |
| 18273 | Logical truths are known by their extreme generality [Russell] |
| Full Idea: A touchstone by which logical propositions may be distinguished from all others is that they result from a process of generalisation which has been carried to its utmost limits. | |
| From: Bertrand Russell (The Theory of Knowledge [1913], p.129), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap 7 'What' |
| 22315 | There can't be a negative of a complex, which is negated by its non-existence [Potter on Russell] |
| Full Idea: On Russell's pre-war conception it is obvious that a complex cannot be negative. If a complex were true, what would make it false would be its non-existence, not the existence of some other complex. | |
| From: comment on Bertrand Russell (The Theory of Knowledge [1913]) by Michael Potter - The Rise of Analytic Philosophy 1879-1930 41 'Neg' | |
| A reaction: It might be false because it doesn't exist, but also 'made' false by a rival complex (such as Desdemona loving Othello). |
| 16383 | Puzzled Pierre has two mental files about the same object [Recanati on Kripke] |
| Full Idea: In Kripke's puzzle about belief, the subject has two distinct mental files about one and the same object. | |
| From: comment on Saul A. Kripke (A Puzzle about Belief [1979]) by François Recanati - Mental Files 17.1 | |
| A reaction: [Pierre distinguishes 'London' from 'Londres'] The Kripkean puzzle is presented as very deep, but I have always felt there was a simple explanation, and I suspect that this is it (though I will leave the reader to think it through, as I'm very busy…). |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |