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13342
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Carnap defined consequence by contradiction, but this is unintuitive and changes with substitution [Tarski on Carnap]
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Full Idea:
Carnap proposed to define consequence as 'sentence X follows from the sentences K iff the sentences K and the negation of X are contradictory', but 1) this is intuitively impossible, and 2) consequence would be changed by substituting objects.
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From:
comment on Rudolph Carnap (The Logical Syntax of Language [1934], p.88-) by Alfred Tarski - The Concept of Logical Consequence p.414
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A reaction:
This seems to be the first step in the ongoing explicit discussion of the nature of logical consequence, which is now seen by many as the central concept of logic. Tarski brings his new tool of 'satisfaction' to bear.
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13251
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Each person is free to build their own logic, just by specifying a syntax [Carnap]
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Full Idea:
In logic, there are no morals. Everyone is at liberty to build his own logic, i.e. his own form of language. All that is required is that he must state his methods clearly, and give syntactical rules instead of philosophical arguments.
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From:
Rudolph Carnap (The Logical Syntax of Language [1934], §17), quoted by JC Beall / G Restall - Logical Pluralism 7.3
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A reaction:
This is understandable, but strikes me as close to daft relativism. If I specify a silly logic, I presume its silliness will be obvious. By what criteria? I say the world dictates the true logic, but this is a minority view.
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20327
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Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson]
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Full Idea:
In modern discussions, rather than look for intrinsic properties of objects, including aesthetic or formal properties, attention has turned to extrinsic or relational properties, notably of a social, historical, or 'institutional' nature.
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From:
Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
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A reaction:
Lots of modern branches of philosophy have made this move, which seems to me like a defeat. We want to know why things have the relations they do. Just mapping the relations is superficial Humeanism.
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20326
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Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson]
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Full Idea:
In the early twentieth century there were numerous attempts at defining the essence art. Significant form, intuition, the expression of emotion, organic unity, and other notions, were offered to this end.
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From:
Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
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A reaction:
As far as I can see the whole of aesthetics was demolished in one blow by Marcel Duchamp's urinal. Artists announce: we will tell you what art is; you should just sit and listen. Compare the invention of an anarchic sport.
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20330
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The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson]
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Full Idea:
The dualistic view of the arts holds that works of art come in two fundamentally different kinds: those that are abstract entities, i.e. types, and those that are physical objects (tokens).
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From:
Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 2)
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A reaction:
Paintings are the main reason for retaining physical objects. Strawson 1974 argues that paintings are only physical because we cannot yet perfectly reproduce them. I agree. Works of art are types, not tokens.
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7903
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The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna]
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Full Idea:
The six perfections are of giving, morality, patience, vigour, meditation, and wisdom.
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From:
Nagarjuna (Mahaprajnaparamitashastra [c.120], 88)
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A reaction:
What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate').
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