35 ideas
| 11211 | If a sound conclusion comes from two errors that cancel out, the path of the argument must matter [Rumfitt] |
| 11210 | Standardly 'and' and 'but' are held to have the same sense by having the same truth table [Rumfitt] |
| 11212 | The sense of a connective comes from primitively obvious rules of inference [Rumfitt] |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| 11214 | We learn 'not' along with affirmation, by learning to either affirm or deny a sentence [Rumfitt] |
| 12157 | Kant gave form and status to aesthetics, and Hegel gave it content [Kant, by Scruton] |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| 20346 | The aesthetic attitude is a matter of disinterestedness [Kant, by Wollheim] |
| 18547 | Only rational beings can experience beauty [Kant, by Scruton] |
| 24172 | It is hard to see why we would have developed Kant's 'disinterested' aesthetic attitude [Cochrane on Kant] |
| 20408 | With respect to the senses, taste is an entirely personal matter [Kant] |
| 20409 | When we judge beauty, it isn't just personal; we judge on behalf of everybody [Kant] |
| 20411 | Saying everyone has their own taste destroys the very idea of taste [Kant] |
| 24170 | Kant thinks beauty ignores its objects, because it is only 'form' engaging with mind [Cochrane on Kant] |
| 22711 | The beautiful is not conceptualised as moral, but it symbolises or resembles goodness [Kant, by Murdoch] |
| 4025 | Kant saw beauty as a sort of disinterested pleasure, which has become separate from the good [Kant, by Taylor,C] |
| 20412 | Beauty is only judged in pure contemplation, and not with something else at stake [Kant] |
| 22046 | The mathematical sublime is immeasurable greatness; the dynamical sublime is overpowering [Kant, by Pinkard] |
| 21458 | The sublime is a moral experience [Kant, by Gardner] |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| 20410 | The judgement of beauty is not cognitive, but relates, via imagination, to pleasurable feelings [Kant] |
| 5643 | Aesthetic values are not objectively valid, but we must treat them as if they are [Kant, by Scruton] |