9 ideas
| 23647 | Objects have an essential constitution, producing its qualities, which we are too ignorant to define [Reid] |
| Full Idea: Individuals and objects have a real essence, or constitution of nature, from which all their qualities flow: but this essence our faculties do not comprehend. They are therefore incapable of definition. | |
| From: Thomas Reid (Essays on Intellectual Powers 4: Conception [1785], 1) | |
| A reaction: Aha - he's one of us! I prefer the phrase 'essential nature' of an object, which is understood, I think, by everyone. I especially like the last bit, directed at those who mistakenly think that Aristotle identified the essence with the definition. |
| 11958 | Impossibilites are easily conceived in mathematics and geometry [Reid, by Molnar] |
| Full Idea: Reid pointed out how easily conceivable mathematical and geometric impossibilities are. | |
| From: report of Thomas Reid (Essays on Intellectual Powers 4: Conception [1785], IV.III) by George Molnar - Powers 11.3 | |
| A reaction: The defence would be that you have to really really conceive them, and the only way the impossible can be conceived is by blurring it at the crucial point, or by claiming to conceive more than you actually can |
| 3448 | Do new ideas increase the weight of the brain? [Dance] |
| Full Idea: If someone gives you a piece of information, does your brain suddenly become heavier? | |
| From: Adam Dance (works [2001]), quoted by PG - Db (ideas) | |
| A reaction: A beautifully simple question, which is a reductio of the idea that information is simply a physical object. The question points to a functionalist account of brain activity. |
| 23646 | Reference is by name, or a term-plus-circumstance, or ostensively, or by description [Reid] |
| Full Idea: An individual is expressed by a proper name, or by a general word joined to distinguishing circumstances; if unknown, it may be pointed out to the senses; when beyond the reach of the senses it may be picked out by an imperfect but true description. | |
| From: Thomas Reid (Essays on Intellectual Powers 4: Conception [1785], 1) | |
| A reaction: [compressed] If Putnam, Kripke and Donnellan had read this paragraph they could have save themselves a lot of work! I take reference to be the activity of speakers and writers, and these are the main tools of the trade. |
| 23645 | A word's meaning is the thing conceived, as fixed by linguistic experts [Reid] |
| Full Idea: The meaning of a word (such as 'felony') is the thing conceived; and that meaning is the conception affixed to it by those who best understand the language. | |
| From: Thomas Reid (Essays on Intellectual Powers 4: Conception [1785], 1) | |
| A reaction: He means legal experts. This is precisely that same as Putnam's account of the meaning of 'elm tree'. His discussion here of reference is the earliest I have encountered, and it is good common sense (for which Reid is famous). |
| 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. |