11 ideas
| 22752 | Reasoning is impossible without a preconception [Sext.Empiricus] |
| Full Idea: It is not possible either to seek or to doubt without a preconception. | |
| From: Sextus Empiricus (Against the Ethicists (one book) [c.180], II.22) | |
| A reaction: [Sextus quotes this from 'the sapient Epicurus'] I think this may be a message across the centuries to Hegel, who attempted this impossible feat. My picture of philosophy is a continual shift of the preconceptions, to explore thoroughly. |
| 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. |
| 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). |
| 7276 | All art is quite useless [Wilde] |
| Full Idea: All art is quite useless. | |
| From: Oscar Wilde (Preface to 'Dorian Gray' [1891]) | |
| A reaction: Echoes Kant's thought that art is 'purposive without purpose'. Although I find Wilde's claims that morality has nothing to do with art to be naïve, I find this remark sympathetic. Art may play with moral feelings, but is unlikely to affect actions. |
| 7274 | Books are only well or badly written, not moral or immoral [Wilde] |
| Full Idea: There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. | |
| From: Oscar Wilde (Preface to 'Dorian Gray' [1891]) | |
| A reaction: This is simply false. Novels that are viciously (or subtly) racist, sexist, homophobic, or egotistical can obviously be immoral. I could write a nasty story about Oscar Wilde. It might, though, be very well written. If life is moral, so are novels. |
| 7275 | Having ethical sympathies is a bad mannerism of style in an artist [Wilde] |
| Full Idea: No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. | |
| From: Oscar Wilde (Preface to 'Dorian Gray' [1891]) | |
| A reaction: This has a Nietzschean suggestion that the artist is 'beyond good and evil', and operates on some higher level of values, which in Wilde's case seem to be purely aesthetic. You can't justify a callous murder by executing it beautifully. |
| 22754 | Saying the good is useful or choiceworth or happiness-creating is not the good, but a feature of it [Sext.Empiricus] |
| Full Idea: Asserting that the good is 'the useful', or 'what is choiceworthy for its own sake', or 'that which contributes to happiness', does not teach us what good is but states its accidental property. | |
| From: Sextus Empiricus (Against the Ethicists (one book) [c.180], II.35) | |
| A reaction: This seems to be a pretty accurate statement of Moore's famous Open Question argument. I read it in an Aristotelian way - that that quest is always for the essential nature of the thing itself, not for its role or function or use. |
| 22755 | Like a warming fire, what is good by nature should be good for everyone [Sext.Empiricus] |
| Full Idea: Just as fire which is warmth-giving by nature warms all men, and does not chill some of them, so what is good by nature ought to be good for all, and not good for some but not good for others. | |
| From: Sextus Empiricus (Against the Ethicists (one book) [c.180], II.69) | |
| A reaction: This is going to confine the naturally good to the basics of life, which we all share. Is a love of chess a natural good? It seems to capture an aspect of human nature, without appealing to everyone. Sextus says nothing is good for everyone. |
| 22756 | If a desire is itself desirable, then we shouldn't desire it, as achieving it destroys it [Sext.Empiricus] |
| Full Idea: If the desire for wealth or health is desirable, we ought not to purse wealth or health, lest by acquiring them we cease to desire them any longer. | |
| From: Sextus Empiricus (Against the Ethicists (one book) [c.180], II.81) | |
| A reaction: He is investigating whether desires can be desirable, and if so which ones. Roots of this are in Plato's 'Gorgias' on drinking water. Similar to 'if compassion is the highest good then we need lots of suffering'. Desire must be a means, not an end. |