21 ideas
| 14352 | '¬', '&', and 'v' are truth functions: the truth of the compound is fixed by the truth of the components [Jackson] |
| Full Idea: It is widely agreed that '¬', '&', and 'v' are 'truth functions': the truth value of a compound sentence formed using them is fully determined by the truth value or values of the component sentences. | |
| From: Frank Jackson (Conditionals [2006], 'Equiv') | |
| A reaction: A candidate for not being a truth function might be a conditional →, where the arrow adds something over and above the propositions it connects. The relationship has an additional truth value? Does A depend on B? |
| 14360 | Possible worlds for subjunctives (and dispositions), and no-truth for indicatives? [Jackson] |
| Full Idea: Subjunctive conditionals are intimately connected with dispositional properties and causation. ...Consequently, a position some find attractive is that possible worlds theory applies to subjunctives, while the no-truth theory applies to indicatives. | |
| From: Frank Jackson (Conditionals [2006], 'Indicative') | |
| A reaction: My intuitions are to reject this and favour a unified account, where both sorts of conditionals are mappings of the relationships among the facts of actuality. Nice slogan! |
| 14353 | Modus ponens requires that A→B is F when A is T and B is F [Jackson] |
| Full Idea: Modus ponens is intuitively valid, but in A,A→B|B if A is true and B is false that must be because A→B is false. So A→B is false when A is true and B is false. | |
| From: Frank Jackson (Conditionals [2006], 'Equiv') | |
| A reaction: This is his first step in showing how the truth functional account of A→B acquires its truth table. If you are giving up the truth functional view of conditionals, presumably you are not also going to give up modus ponens? |
| 14354 | When A and B have the same truth value, A→B is true, because A→A is a logical truth [Jackson] |
| Full Idea: (A→A) is a logical truth, so some conditionals with antecedent and consequent the same truth value are true. But if '→' is a truth function, that will be true for all cases. Hence whenever A and B are alike in truth value, (A→B) is true. | |
| From: Frank Jackson (Conditionals [2006], 'Equiv') | |
| A reaction: His second step in demonstrating the truth table for →, assuming it is truth functional. |
| 14355 | (A&B)→A is a logical truth, even if antecedent false and consequent true, so it is T if A is F and B is T [Jackson] |
| Full Idea: (A&B)→A is a logical truth, but A can be true and B false, so that (A&B) is false. So some conditionals with false antecedent and true consequent are true. If → is a truth function, then whenever A is false and B is true (A→B) is true. | |
| From: Frank Jackson (Conditionals [2006], 'Equiv') | |
| A reaction: This is his third and final step in showing the truth table of → if it is truth functional. |
| 14358 | In the possible worlds account of conditionals, modus ponens and modus tollens are validated [Jackson] |
| Full Idea: In the possible worlds account modus ponens is validated (the closest world, the actual, is a B-world just if B is true), and modus tollens is validated (if B is false, the actual world is not an A-world, so A is false). | |
| From: Frank Jackson (Conditionals [2006], 'Famous') | |
| A reaction: [see Jackson for slightly fuller versions] This looks like a minimal requirement for a decent theory of conditionals, so Jackson explains the attractions of the possible worlds view very persuasively. |
| 14359 | Only assertions have truth-values, and conditionals are not proper assertions [Jackson] |
| Full Idea: In the no-truth theory of conditionals they have justified assertion or acceptability conditions but not truth conditions. ...The motivation is that only assertions have truth values, and conditionals are arguments, not proper assertions. | |
| From: Frank Jackson (Conditionals [2006], 'No-truth') | |
| A reaction: Once I trim this idea down to its basics, it suddenly looks very persuasive. Except that I am inclined to think that conditional truths do state facts about the world - perhaps as facts about how more basic truths are related to each other. |
| 14357 | Possible worlds account, unlike A⊃B, says nothing about when A is false [Jackson] |
| Full Idea: In the possible worlds account of conditionals A⊃B is not sufficient for A→B. If A is false then A⊃B is true, but here nothing is implied about whether the world most like the actual world except that A is true is or is not a B-world. | |
| From: Frank Jackson (Conditionals [2006], 'Possible') | |
| A reaction: The possible worlds account seems to be built on Ramsey's idea of just holding A true and seeing what you get. Being committed to B being automatically true if A is false seems highly counterintuitive. |
| 14356 | We can't insist that A is relevant to B, as conditionals can express lack of relevance [Jackson] |
| Full Idea: One addition to the truth functional account of conditionals is that A be somehow relevant to B. However, sometimes we use conditionals to express lack of relevance, as in 'If Fred works he will fail, and if Fred doesn't work he will fail'. | |
| From: Frank Jackson (Conditionals [2006], 'Possible') | |
| A reaction: This certainly seems to put paid to an attractive instant solution to the problem. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 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…). |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |