40 ideas
| 17641 | Discoveries in mathematics can challenge philosophy, and offer it a new foundation [Russell] |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| 17638 | If one proposition is deduced from another, they are more certain together than alone [Russell] |
| 17632 | Non-contradiction was learned from instances, and then found to be indubitable [Russell] |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| 17640 | Finding the axioms may be the only route to some new results [Russell] |
| 17629 | Which premises are ultimate varies with context [Russell] |
| 17630 | The sources of a proof are the reasons why we believe its conclusion [Russell] |
| 17627 | It seems absurd to prove 2+2=4, where the conclusion is more certain than premises [Russell] |
| 17628 | Arithmetic was probably inferred from relationships between physical objects [Russell] |
| 17637 | The most obvious beliefs are not infallible, as other obvious beliefs may conflict [Russell] |
| 17639 | Believing a whole science is more than believing each of its propositions [Russell] |
| 17631 | Induction is inferring premises from consequences [Russell] |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| 23894 | The concept of character is at the centre of morality [Weil] |
| 23896 | We see our character as a restricting limit, but also as an unshakable support [Weil] |
| 23893 | We don't see character in a single moment, but only over a period of time [Weil] |
| 23895 | We modify our character by placing ourselves in situations, or by attending to what seems trivial [Weil] |
| 17633 | The law of gravity has many consequences beyond its grounding observations [Russell] |