7 ideas
| 5831 | The new view is that "water" is a name, and has no definition [Schwartz,SP] |
| Full Idea: Perhaps the modern view is best expressed as saying that "water" has no definition at all, at least in the traditional sense, and is a proper name of a specific substance. | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §III) | |
| A reaction: This assumes that proper names have no definitions, though I am not clear how we can grasp the name 'Aristotle' without some association of properties (human, for example) to go with it. We need a definition of 'definition'. |
| 5829 | We refer to Thales successfully by name, even if all descriptions of him are false [Schwartz,SP] |
| Full Idea: We can refer to Thales by using the name "Thales" even though perhaps the only description we can supply is false of him. | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §III) | |
| A reaction: It is not clear what we would be referring to if all of our descriptions (even 'Greek philosopher') were false. If an archaeologist finds just a scrap of stone with a name written on it, that is hardly a sufficient basis for successful reference. |
| 5830 | The traditional theory of names says some of the descriptions must be correct [Schwartz,SP] |
| Full Idea: The traditional theory of proper names entails that at least some combination of the things ordinarily believed of Aristotle are necessarily true of him. | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §III) | |
| A reaction: Searle endorses this traditional theory. Kripke and co. tried to dismiss it, but you can't. If all descriptions of Aristotle turned out to be false (it was actually the name of a Persian statue), our modern references would have been unsuccessful. |
| 22419 | 'I' is a subject in 'I am in pain' and an object in 'I am bleeding' [Wittgenstein, by McGinn] |
| Full Idea: 'I' is used as a subject in 'I am in pain', ....and used as an object in 'I am bleeding'. | |
| From: report of Ludwig Wittgenstein (The Blue and Brown Notebooks [1936], pp. 66-7) by Colin McGinn - Subjective View: sec qualities and indexicals 4 | |
| A reaction: How about 'my wound is painful'? Does that have the logical form of a conversation? This idea is incorrect. Shoemaker (1968) suggests that the subjective use is immune to error, unlike the object use. |
| 5826 | The intension of "lemon" is the conjunction of properties associated with it [Schwartz,SP] |
| Full Idea: The conjunction of properties associated with a term such as "lemon" is often called the intension of the term "lemon". | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §II) | |
| A reaction: The extension of "lemon" is the set of all lemons. At last, a clear explanation of the word 'intension'! The debate becomes clear - over whether the terms of a language are used in reference to ideas of properties (and substances?), or to external items. |
| 6318 | The doctrine of indeterminacy of translation seems implied by the later Wittgenstein [Wittgenstein, by Quine] |
| Full Idea: Perhaps the doctrine of indeterminacy of translation will have little air of paradox for readers familiar with Wittgenstein's latter-day remarks on meaning. | |
| From: report of Ludwig Wittgenstein (The Blue and Brown Notebooks [1936], II.§16 n) by Willard Quine - Word and Object II.§16 n | |
| A reaction: This may be right, and I am inclined to link the names of Wittgenstein and Quine among those who led philosophy up a relativistic and sceptical cul-de-sac for many years. You can think too hard, you know. |
| 20444 | If paintings could be perfectly duplicated, it would be a multiple art form [Currie, by Bacharach] |
| Full Idea: Currie claims that, in principle, all art forms are multiple. A superxerox machine, duplicating a painting molecule by molecule, would show that paintings are singular only contingently. | |
| From: report of Gregory Currie (An Ontology of Art [1988]) by Sondra Bacharach - Arthur C. Danto 3 | |
| A reaction: This strikes me as correct. An original painting would then have the same status as the manuscript of a poem, giving it an authority, and being moving by its personal contact with the artist. But worth far less than current original paintings. |