7 ideas
| 22333 | Only language is understandable Being [Gadamer] |
| Full Idea: Being that can be understood is language. | |
| From: Hans-Georg Gadamer (Truth and Method [1960], p.450), quoted by Hans-Johann Glock - What is Analytic Philosophy? 5.2 | |
| A reaction: [also 1967 p.19] Glock quotes this to show that continental philosophers are just as linguistic in their approach as the analytic school. I think the main aim of representational painting is to grasp non-linguistic Being. |
| 7295 | Maybe induction is only reliable IF reality is stable [Mitchell,A] |
| Full Idea: Maybe we should say that IF regularities are stable, only then is induction a reliable procedure. | |
| From: Alistair Mitchell (talk [2006]), quoted by PG - Db (ideas) | |
| A reaction: This seems to me a very good proposal. In a wildly unpredictable reality, it is hard to see how anyone could learn from experience, or do any reasoning about the future. Natural stability is the axiom on which induction is built. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 20928 | Facts don't oppose values; they are integrated into each person's aspirations [Gadamer, by Zimmermann,J] |
| Full Idea: Gadamer shows that we cannot oppose facts to values, but that all facts are integrated into meaningful wholes through a personal commitment to some kind of vision of how things ought to be. | |
| From: report of Hans-Georg Gadamer (Truth and Method [1960]) by Jens Zimmermann - Hermeneutics: a very short introduction | |
| A reaction: Straw man here. Whoever said that facts were 'opposed' to values? Certainly not David Hume. Any sensible empiricist of that type would try to develop values that integrated nicely with the facts. Gadamer seems to be denying facts. |