10 ideas
| 10580 | Mathematics is both necessary and a priori because it really consists of logical truths [Yablo] |
| Full Idea: Mathematics seems necessary because the real contents of mathematical statements are logical truths, which are necessary, and it seems a priori because logical truths really are a priori. | |
| From: Stephen Yablo (Abstract Objects: a Case Study [2002], 10) | |
| A reaction: Yablo says his logicism has a Kantian strain, because numbers and sets 'inscribed on our spectacles', but he takes a different view (in the present Idea) from Kant about where the necessity resides. Personally I am tempted by an a posteriori necessity. |
| 10579 | Putting numbers in quantifiable position (rather than many quantifiers) makes expression easier [Yablo] |
| Full Idea: Saying 'the number of Fs is 5', instead of using five quantifiers, puts the numeral in quantifiable position, which brings expressive advantages. 'There are more sheep in the field than cows' is an infinite disjunction, expressible in finite compass. | |
| From: Stephen Yablo (Abstract Objects: a Case Study [2002], 08) | |
| A reaction: See Hofweber with similar thoughts. This idea I take to be a key one in explaining many metaphysical confusions. The human mind just has a strong tendency to objectify properties, relations, qualities, categories etc. - for expression and for reasoning. |
| 10577 | Concrete objects have few essential properties, but properties of abstractions are mostly essential [Yablo] |
| Full Idea: Objects like me have a few essential properties, and numerous accidental ones. Abstract objects are a different story. The intrinsic properties of the empty set are mostly essential. The relations of numbers are also mostly essential. | |
| From: Stephen Yablo (Abstract Objects: a Case Study [2002], 01) |
| 10578 | We are thought to know concreta a posteriori, and many abstracta a priori [Yablo] |
| Full Idea: Our knowledge of concreta is a posteriori, but our knowledge of numbers, at least, has often been considered a priori. | |
| From: Stephen Yablo (Abstract Objects: a Case Study [2002], 02) |
| 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. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |