7 ideas
| 14933 | Scientific properties are defined by the laws that embody them [Psillos, by Ladyman/Ross] |
| Full Idea: For Psillos, properties in mature science are defined by the laws in which they feature. | |
| From: report of Stathis Psillos (Scientific Realism [1999]) by J Ladyman / D Ross - Every Thing Must Go 3.5 | |
| A reaction: This is a perfect example of the Humean approach getting everything the wrong way round. Laws are not primitives from which we derive our account of nature - they are generalisations built up from the behaviour of prior properties. |
| 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 |
| 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). |
| 12165 | Romantics say music expresses ideas, or the Will, or intuitions, or feelings [Scruton] |
| Full Idea: According to the Romantic theory music was an expression of something, of an idea (Hegel), of the Will (Schopenhauer), of 'intuitions' (Croce), or of feelings (Collingwood). | |
| From: Roger Scruton (The Nature of Musical Expression [1981], p.54) | |
| A reaction: Deryck Cooke was the culmination of music as expression of feeling, and Stravinsky was the greatest rebel against the whole idea of expression in music. You can set out to create interesting music which does or does not grab the emotions. |
| 12164 | Expressing melancholy is a good thing, but arousing it is a bad thing [Scruton] |
| Full Idea: To describe a piece of music as expressive of melancholy is to give a reason for listening to it; to describe it as arousing or evoking melancholy is to give a reason for avoiding it. | |
| From: Roger Scruton (The Nature of Musical Expression [1981], p.49) | |
| A reaction: Expressing sexual desire, while avoiding arousing it, is the nice challenge for a particular type of art. Would Scruton say that expressing joy is a good thing, but arousing it is bad? It is a nice observation, though. |