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All the ideas for '', 'Letters to Johann Bernoulli' and 'Introductions to 'Aesthetics and the Phil of Art''

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11 ideas

5. Theory of Logic / A. Overview of Logic / 1. Overview of Logic
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.
5. Theory of Logic / E. Structures of Logic / 2. Logical Connectives / a. Logical connectives
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.
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.
7. Existence / C. Structure of Existence / 6. Fundamentals / c. Monads
A piece of flint contains something resembling perceptions and appetites [Leibniz]
     Full Idea: I don't say that bodies like flint, which are commonly called inanimate, have perceptions and appetition; rather they have something of that sort in them, like worms are in cheese.
     From: Gottfried Leibniz (Letters to Johann Bernoulli [1699], 1698.12.17)
     A reaction: Leibniz is caricatured as thinking that stones are full of little active minds, but he nearly always says that what he is proposing is 'like' or 'analogous to' that. His only real point is that nature is active, as seen in the appetites of animals.
Entelechies are analogous to souls, as other minds are analogous to our own minds [Leibniz]
     Full Idea: Just as we somehow conceive other souls and intelligences on analogy with our own souls, I wanted whatever other primitive entelechies there may be remote from our senses to be conceived on analogy with souls. They are not conceived perfectly.
     From: Gottfried Leibniz (Letters to Johann Bernoulli [1699], 1698.12.17)
     A reaction: This is the clearest evidence I can find that Leibniz does not think of monads as actually being souls. He is struggling to explain their active character. Garber thinks that Leibniz hasn't arrived at proper monads at this date.
10. Modality / D. Knowledge of Modality / 4. Conceivable as Possible / c. Possible but inconceivable
What we cannot imagine may still exist [Leibniz]
     Full Idea: It does not follow that what we can't imagine does not exist.
     From: Gottfried Leibniz (Letters to Johann Bernoulli [1699], 1698.11.18)
     A reaction: This just establishes the common sense end of the debate - that you cannot just use your imagination as the final authority on what exists, or what is possible.
19. Language / F. Communication / 3. Denial
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).
21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics
Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson]
     Full Idea: In modern discussions, rather than look for intrinsic properties of objects, including aesthetic or formal properties, attention has turned to extrinsic or relational properties, notably of a social, historical, or 'institutional' nature.
     From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
     A reaction: Lots of modern branches of philosophy have made this move, which seems to me like a defeat. We want to know why things have the relations they do. Just mapping the relations is superficial Humeanism.
21. Aesthetics / B. Nature of Art / 1. Defining Art
Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson]
     Full Idea: In the early twentieth century there were numerous attempts at defining the essence art. Significant form, intuition, the expression of emotion, organic unity, and other notions, were offered to this end.
     From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
     A reaction: As far as I can see the whole of aesthetics was demolished in one blow by Marcel Duchamp's urinal. Artists announce: we will tell you what art is; you should just sit and listen. Compare the invention of an anarchic sport.
21. Aesthetics / B. Nature of Art / 7. Ontology of Art
The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson]
     Full Idea: The dualistic view of the arts holds that works of art come in two fundamentally different kinds: those that are abstract entities, i.e. types, and those that are physical objects (tokens).
     From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 2)
     A reaction: Paintings are the main reason for retaining physical objects. Strawson 1974 argues that paintings are only physical because we cannot yet perfectly reproduce them. I agree. Works of art are types, not tokens.
22. Metaethics / B. Value / 2. Values / e. Death
Death is just the contraction of an animal [Leibniz]
     Full Idea: Death is nothing but the contraction of an animal, just as generation is nothing but its unfolding.
     From: Gottfried Leibniz (Letters to Johann Bernoulli [1699], 1698.11.18)
     A reaction: This is possibly the most bizarre view that I have found in Leibniz. He seemed to thing that if you burnt an animal on a bonfire, some little atom of life would remain among the ashes. I can't see why he would believe such a thing.