21 ideas
| 13838 | A decent modern definition should always imply a semantics [Hacking] |
| Full Idea: Today we expect that anything worth calling a definition should imply a semantics. | |
| From: Ian Hacking (What is Logic? [1979], §10) | |
| A reaction: He compares this with Gentzen 1935, who was attempting purely syntactic definitions of the logical connectives. |
| 13833 | 'Thinning' ('dilution') is the key difference between deduction (which allows it) and induction [Hacking] |
| Full Idea: 'Dilution' (or 'Thinning') provides an essential contrast between deductive and inductive reasoning; for the introduction of new premises may spoil an inductive inference. | |
| From: Ian Hacking (What is Logic? [1979], §06.2) | |
| A reaction: That is, inductive logic (if there is such a thing) is clearly non-monotonic, whereas classical inductive logic is monotonic. |
| 13834 | Gentzen's Cut Rule (or transitivity of deduction) is 'If A |- B and B |- C, then A |- C' [Hacking] |
| Full Idea: If A |- B and B |- C, then A |- C. This generalises to: If Γ|-A,Θ and Γ,A |- Θ, then Γ |- Θ. Gentzen called this 'cut'. It is the transitivity of a deduction. | |
| From: Ian Hacking (What is Logic? [1979], §06.3) | |
| A reaction: I read the generalisation as 'If A can be either a premise or a conclusion, you can bypass it'. The first version is just transitivity (which by-passes the middle step). |
| 13835 | Only Cut reduces complexity, so logic is constructive without it, and it can be dispensed with [Hacking] |
| Full Idea: Only the cut rule can have a conclusion that is less complex than its premises. Hence when cut is not used, a derivation is quite literally constructive, building up from components. Any theorem obtained by cut can be obtained without it. | |
| From: Ian Hacking (What is Logic? [1979], §08) |
| 13845 | The various logics are abstractions made from terms like 'if...then' in English [Hacking] |
| Full Idea: I don't believe English is by nature classical or intuitionistic etc. These are abstractions made by logicians. Logicians attend to numerous different objects that might be served by 'If...then', like material conditional, strict or relevant implication. | |
| From: Ian Hacking (What is Logic? [1979], §15) | |
| A reaction: The idea that they are 'abstractions' is close to my heart. Abstractions from what? Surely 'if...then' has a standard character when employed in normal conversation? |
| 13840 | First-order logic is the strongest complete compact theory with Löwenheim-Skolem [Hacking] |
| Full Idea: First-order logic is the strongest complete compact theory with a Löwenheim-Skolem theorem. | |
| From: Ian Hacking (What is Logic? [1979], §13) |
| 13844 | A limitation of first-order logic is that it cannot handle branching quantifiers [Hacking] |
| Full Idea: Henkin proved that there is no first-order treatment of branching quantifiers, which do not seem to involve any idea that is fundamentally different from ordinary quantification. | |
| From: Ian Hacking (What is Logic? [1979], §13) | |
| A reaction: See Hacking for an example of branching quantifiers. Hacking is impressed by this as a real limitation of the first-order logic which he generally favours. |
| 13842 | Second-order completeness seems to need intensional entities and possible worlds [Hacking] |
| Full Idea: Second-order logic has no chance of a completeness theorem unless one ventures into intensional entities and possible worlds. | |
| From: Ian Hacking (What is Logic? [1979], §13) |
| 13837 | With a pure notion of truth and consequence, the meanings of connectives are fixed syntactically [Hacking] |
| Full Idea: My doctrine is that the peculiarity of the logical constants resides precisely in that given a certain pure notion of truth and consequence, all the desirable semantic properties of the constants are determined by their syntactic properties. | |
| From: Ian Hacking (What is Logic? [1979], §09) | |
| A reaction: He opposes this to Peacocke 1976, who claims that the logical connectives are essentially semantic in character, concerned with the preservation of truth. |
| 13839 | Perhaps variables could be dispensed with, by arrows joining places in the scope of quantifiers [Hacking] |
| Full Idea: For some purposes the variables of first-order logic can be regarded as prepositions and place-holders that could in principle be dispensed with, say by a system of arrows indicating what places fall in the scope of which quantifier. | |
| From: Ian Hacking (What is Logic? [1979], §11) | |
| A reaction: I tend to think of variables as either pronouns, or as definite descriptions, or as temporary names, but not as prepositions. Must address this new idea... |
| 13843 | If it is a logic, the Löwenheim-Skolem theorem holds for it [Hacking] |
| Full Idea: A Löwenheim-Skolem theorem holds for anything which, on my delineation, is a logic. | |
| From: Ian Hacking (What is Logic? [1979], §13) | |
| A reaction: I take this to be an unusually conservative view. Shapiro is the chap who can give you an alternative view of these things, or Boolos. |
| 6417 | In 1921 Russell abandoned sense-data, and the gap between sensation and object [Russell, by Grayling] |
| Full Idea: In 'The Analysis of Mind' Russell gave up talk of 'sense-data', and ceased to distinguish between the act of sensing and what is sensed. | |
| From: report of Bertrand Russell (The Analysis of Mind [1921]) by A.C. Grayling - Russell Ch.2 | |
| A reaction: This seems to lead towards the modern 'adverbial' account of sensing, where I don't sense 'data', but where qualia (such as redness) are our particular mode of directly perceiving objects, where insects might directly perceive them in a different mode. |
| 6474 | Seeing is not in itself knowledge, but is separate from what is seen, such as a patch of colour [Russell] |
| Full Idea: Undeniably, knowledge comes through seeing, but it is a mistake to regard the mere seeing itself as knowledge; if we are so to regard it, we must distinguish the seeing from what is seen; a patch of colour is one thing, and our seeing it is another. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: This is Russell's 1921 explanation of why he adopted sense-data (but he rejects them later in this paragraph). This gives a simplistic impression of what he intended, which has three components: the object, the 'sensibile', and the sense-datum. |
| 6476 | We cannot assume that the subject actually exists, so we cannot distinguish sensations from sense-data [Russell] |
| Full Idea: If we are to avoid a perfectly gratuitous assumption, we must dispense with the subject as one of the actual ingredients of the world; but when we do this, the possibility of distinguishing the sensation from the sense-datum vanishes. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: This is the reason why Russell himself rejected sense-data. It is more normal, I think, to reject them simply as being superfluous. If the subject can simply perceive the sense-data, why can't they just perceive the object more directly? |
| 2792 | It is possible the world came into existence five minutes ago, complete with false memories [Russell] |
| Full Idea: There is no logical impossibility in the hypothesis that the world sprang into being five minutes ago, exactly as it then was, with a population that "remembered" a wholly unreal past. | |
| From: Bertrand Russell (The Analysis of Mind [1921], p.159) | |
| A reaction: One of the great sceptical arguments! At a stroke it undermines forever any dreams that memories are totally certain. This is an extra scepticism, which arises if you decide that current experience IS totally certain. |
| 22326 | Knowledge needs more than a sensitive response; the response must also be appropriate [Russell] |
| Full Idea: Accuracy of response to stimulus does not alone show knowledge, but must be reinforced by appropriateness, i.e. suitability of realising one's purpose. | |
| From: Bertrand Russell (The Analysis of Mind [1921], p.261), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 66 'Rel' | |
| A reaction: The aim of 'realising one's purpose' puts a very pragmatist spin on this. The point is a good one, and seems to apply particularly to Nozick's accurate 'tracking' account of knowledge. |
| 6475 | In perception, the self is just a logical fiction demanded by grammar [Russell] |
| Full Idea: In perception, the idea of the subject appears to be a logical fiction, like mathematical points and instants; it is introduced, not because observation reveals it, but because it is linguistically convenient and apparently demanded by grammar. | |
| From: Bertrand Russell (The Analysis of Mind [1921], Lec. VIII) | |
| A reaction: In 1912, Russell had felt that both the Cogito, and the experience of meta-thought, had confirmed the existence of a non-permanent ego, but here he offers a Humean rejection. His notion of a 'logical fiction' is behaviouristic. I believe in the Self. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |