Combining Texts

All the ideas for '', 'An Essay in Aesthetics' and 'Naming and Necessity preface'

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23 ideas

4. Formal Logic / D. Modal Logic ML / 1. Modal Logic
16985 Possible worlds allowed the application of set-theoretic models to modal logic [Kripke]
5. Theory of Logic / A. Overview of Logic / 1. Overview of Logic
11211 If a sound conclusion comes from two errors that cancel out, the path of the argument must matter [Rumfitt]
5. Theory of Logic / E. Structures of Logic / 2. Logical Connectives / a. Logical connectives
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]
5. Theory of Logic / F. Referring in Logic / 1. Naming / c. Names as referential
16982 A man has two names if the historical chains are different - even if they are the same! [Kripke]
9. Objects / F. Identity among Objects / 1. Concept of Identity
16981 With the necessity of self-identity plus Leibniz's Law, identity has to be an 'internal' relation [Kripke]
9. Objects / F. Identity among Objects / 8. Leibniz's Law
4942 The indiscernibility of identicals is as self-evident as the law of contradiction [Kripke]
10. Modality / C. Sources of Modality / 1. Sources of Necessity
16984 I don't think possible worlds reductively reveal the natures of modal operators etc. [Kripke]
10. Modality / D. Knowledge of Modality / 2. A Priori Contingent
9385 The very act of designating of an object with properties gives knowledge of a contingent truth [Kripke]
10. Modality / E. Possible worlds / 1. Possible Worlds / a. Possible worlds
4943 Instead of talking about possible worlds, we can always say "It is possible that.." [Kripke]
10. Modality / E. Possible worlds / 2. Nature of Possible Worlds / a. Nature of possible worlds
16983 Probability with dice uses possible worlds, abstractions which fictionally simplify things [Kripke]
16. Persons / C. Self-Awareness / 3. Limits of Introspection
20429 Most of us are too close to our own motives to understand them [Fry]
19. Language / F. Communication / 3. Denial
11214 We learn 'not' along with affirmation, by learning to either affirm or deny a sentence [Rumfitt]
21. Aesthetics / A. Aesthetic Experience / 2. Aesthetic Attitude
20424 Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry]
20427 Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry]
21. Aesthetics / A. Aesthetic Experience / 4. Beauty
20433 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry]
21. Aesthetics / A. Aesthetic Experience / 6. The Sublime
20430 In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry]
21. Aesthetics / B. Nature of Art / 2. Art as Form
20431 Art needs a mixture of order and variety in its sensations [Fry]
21. Aesthetics / B. Nature of Art / 3. Art as Imitation
20423 If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry]
20428 Popular opinion favours realism, yet most people never look closely at anything! [Fry]
21. Aesthetics / C. Artistic Issues / 1. Artistic Intentions
20432 When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry]
21. Aesthetics / C. Artistic Issues / 4. Emotion in Art
20425 In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry]
21. Aesthetics / C. Artistic Issues / 7. Art and Morality
20426 For pure moralists art must promote right action, and not just be harmless [Fry]