5 ideas
| 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…). |
| 14894 | Indexicals have a 'character' (the standing meaning), and a 'content' (truth-conditions for one context) [Kaplan, by Macià/Garcia-Carpentiro] |
| Full Idea: Kaplan distinguished two different semantic features of indexical expressions: a 'character' that captures the standing meaning of the expression, and a 'content' that consists of their truth-conditional contribution in particular contexts. | |
| From: report of David Kaplan (Demonstratives [1989]) by Macià/Garcia-Carpentiro - Introduction to 'Two-Dimensional Semantics' 1 | |
| A reaction: This seems so clearly right that there isn't much to dispute. You can't understand the word 'I' or 'now' if you don't understand both its general purpose, and what it is doing in a particular utterance. But will this generalise to other semantics? |
| 14700 | 'Content' gives the standard modal profile, and 'character' gives rules for a context [Kaplan, by Schroeter] |
| Full Idea: Kaplan sees two aspects of meaning, the 'content', reflecting a thing's modal profile, which is modelled by standard possible worlds semantics, and 'character', giving rules for different contexts. Proper names have constant character; indexicals vary. | |
| From: report of David Kaplan (Demonstratives [1989]) by Laura Schroeter - Two-Dimensional Semantics 1.1.1 | |
| A reaction: This gives rise to 2-D matrices for representing meaning, and the possible worlds are used twice, for evaluating meaning and then for evaluating context of use. I've always been struck by the two-dimensional semantics of passwords. |
| 18552 | Forget about beauty; just concentrate on the virtues of delicacy and discernment admired in critics [Hume, by Scruton] |
| Full Idea: Hume suggest we get away from the fruitless discussion of beauty, and simply concentrate on the qualities we admire, and ought to admire, in a critic - qualities such as delicacy and discernment. | |
| From: report of David Hume (Of the standard of taste [1757]) by Roger Scruton - Beauty: a very short introduction 6 | |
| A reaction: We might wonder how you can admire 'discernment' without some view of the thing being discern, which is in danger of being beauty. How do you judge delicacy and discernment without judging the objects of the critic's taste? Mere authority? |
| 6608 | Strong sense, delicate sentiment, practice, comparisons, and lack of prejudice, are all needed for good taste [Hume] |
| Full Idea: Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to the valuable character of having 'taste'. | |
| From: David Hume (Of the standard of taste [1757]), quoted by Robert Fogelin - Walking the Tightrope of Reason Ch.6 | |
| A reaction: I agree entirely with this, but then I am a very politically incorrect elitist when it comes to taste. It just seems screamingly obvious that professional wine-tasters have a better appreciation of wine than me, and so on for the rest of the arts. |