23 ideas
| 16985 | Possible worlds allowed the application of set-theoretic models to modal logic [Kripke] |
| Full Idea: The main and the original motivation for the 'possible worlds analysis' - and the way it clarified modal logic - was that it enabled modal logic to be treated by the same set theoretic techniques of model theory used successfully in extensional logic. | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.19 n18) | |
| A reaction: So they should be ascribed the same value that we attribute to classical model theory, whatever that is. |
| 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. |
| 16982 | A man has two names if the historical chains are different - even if they are the same! [Kripke] |
| Full Idea: Two totally distinct 'historical chains' that be sheer accident assign the same name to the same man should probably count as creating distinct names despite the identity of the referents. | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.08 n9) | |
| A reaction: A nice puzzle for his own theory. 'What's you name?' 'Alice, and Alice!' |
| 16981 | With the necessity of self-identity plus Leibniz's Law, identity has to be an 'internal' relation [Kripke] |
| Full Idea: It is clear from (x)□(x=x) and Leibniz's Law that identity is an 'internal' relation: (x)(y)(x=y ⊃ □x=y). What pairs (w,y) could be counterexamples? Not pairs of distinct objects, …nor an object and itself. | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.03) | |
| A reaction: I take 'internal' to mean that the necessity of identity is intrinsic to the item(s), and not imposed by some other force. |
| 4942 | The indiscernibility of identicals is as self-evident as the law of contradiction [Kripke] |
| Full Idea: It seems to me that the Leibnizian principle of the indiscernibility of identicals (not to be confused with the identity of indiscernibles) is as self-evident as the law of contradiction. | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.03) | |
| A reaction: This seems obviously correct, as it says no more than that a thing has whatever properties it has. If a difference is discerned, either you have made a mistake, or it isn't identical. |
| 16984 | I don't think possible worlds reductively reveal the natures of modal operators etc. [Kripke] |
| Full Idea: I do not think of 'possible worlds' as providing a reductive analysis in any philosophically significant sense, that is, as uncovering the ultimate nature, from either an epistemological or a metaphysical view, of modal operators, propositions etc. | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.19 n18) | |
| A reaction: I think this remark opens the door for Kit Fine's approach, of showing what modality is by specifying its sources. Possible worlds model the behaviour of modal inferences. |
| 9385 | The very act of designating of an object with properties gives knowledge of a contingent truth [Kripke] |
| Full Idea: If a speaker introduced a designator into a language by a ceremony, then in virtue of his very linguistic act, he would be in a position to say 'I know that Fa', but nevertheless 'Fa' would be a contingent truth (provided F is not an essential property). | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.14) | |
| A reaction: If someone else does the designation, I seem to have contingent knowledge that the ceremony has taken place. You needn't experience the object, but you must experience the ceremony, even if you perform it. |
| 4943 | Instead of talking about possible worlds, we can always say "It is possible that.." [Kripke] |
| Full Idea: We should remind ourselves the 'possible worlds' terminology can always be replaced by modal talk, such as "It is possible that…" | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.15) | |
| A reaction: Coming from an originator of the possible worlds idea, this is a useful reminder that we don't have to get too excited about the ontological commitments involved. It may be just a 'way to talk', and hence a tool, rather than a truth about reality. |
| 16983 | Probability with dice uses possible worlds, abstractions which fictionally simplify things [Kripke] |
| Full Idea: In studying probabilities with dice, we are introduced at a tender age to a set of 36 (miniature) possible worlds, if we (fictively) ignore everything except the two dice. …The possibilities are abstract states of the dice, not physical entities. | |
| From: Saul A. Kripke (Naming and Necessity preface [1980], p.16) | |
| A reaction: Interesting for the introduction by the great man of the words 'fictional' and 'abstract' into the discussion. He says elsewhere that he takes worlds to be less than real, but more than mere technical devices. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 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). |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |