7 ideas
11211 | If a sound conclusion comes from two errors that cancel out, the path of the argument must matter [Rumfitt] |
Full Idea: If a designated conclusion follows from the premisses, but the argument involves two howlers which cancel each other out, then the moral is that the path an argument takes from premisses to conclusion does matter to its logical evaluation. | |
From: Ian Rumfitt ("Yes" and "No" [2000], II) | |
A reaction: The drift of this is that our view of logic should be a little closer to the reasoning of ordinary language, and we should rely a little less on purely formal accounts. |
11210 | Standardly 'and' and 'but' are held to have the same sense by having the same truth table [Rumfitt] |
Full Idea: If 'and' and 'but' really are alike in sense, in what might that likeness consist? Some philosophers of classical logic will reply that they share a sense by virtue of sharing a truth table. | |
From: Ian Rumfitt ("Yes" and "No" [2000]) | |
A reaction: This is the standard view which Rumfitt sets out to challenge. |
11212 | The sense of a connective comes from primitively obvious rules of inference [Rumfitt] |
Full Idea: A connective will possess the sense that it has by virtue of its competent users' finding certain rules of inference involving it to be primitively obvious. | |
From: Ian Rumfitt ("Yes" and "No" [2000], III) | |
A reaction: Rumfitt cites Peacocke as endorsing this view, which characterises the logical connectives by their rules of usage rather than by their pure semantic value. |
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. |
11214 | We learn 'not' along with affirmation, by learning to either affirm or deny a sentence [Rumfitt] |
Full Idea: The standard view is that affirming not-A is more complex than affirming the atomic sentence A itself, with the latter determining its sense. But we could learn 'not' directly, by learning at once how to either affirm A or reject A. | |
From: Ian Rumfitt ("Yes" and "No" [2000], IV) | |
A reaction: [compressed] This seems fairly anti-Fregean in spirit, because it looks at the psychology of how we learn 'not' as a way of clarifying what we mean by it, rather than just looking at its logical behaviour (and thus giving it a secondary role). |
20344 | Music is not an expressive art, because it expresses no familiar emotions [Hanslick, by Wollheim] |
Full Idea: Hanslick concluded from the fact that music doesn't express definite feelings like piety, love, joy, or sadness, that it isn't an art of expression. | |
From: report of Eduard Hanslick (The Beautiful in Music [1854]) by Richard Wollheim - Art and Its Objects 48 | |
A reaction: Whether music is 'expressive' (which it may not be) should not be confused with whether it is emotional, which it clearly is, even in its coolest examples. Hanslick viewed music as a code, not a language. |