6 ideas
| 16519 | No one can conceive of a possible substance, apart from those which God has created [Arnauld] |
| Full Idea: I am much mistaken if there is anyone who dares to say that he can conceive of a purely possible substance, …for although one talks so much of them, one never conceives them except according to the notion of those which God has created. | |
| From: Antoine Arnauld (Letters to Leibniz [1686], 1686.05.13), quoted by David Wiggins - Sameness and Substance 4.2 | |
| A reaction: This idea cashes out in the 'necessitism' of Tim Williamson, and views on the Barcan formulae in modal logic. |
| 17743 | De Morgan introduced a 'universe of discourse', to replace Boole's universe of 'all things' [De Morgan, by Walicki] |
| Full Idea: In 1846 De Morgan introduced the enormously influential notion of a possibly arbitrary and stipulated 'universe of discourse'. It replaced Boole's original - and metaphysically a bit suspect - universe of 'all things'. | |
| From: report of Augustus De Morgan (works [1846]) by Michal Walicki - Introduction to Mathematical Logic History D.1.1 | |
| A reaction: This not only brings formal logic under control, but also reflects normal talk, because there is always an explicit or implicit domain of discourse when we talk. Of virtually any conversation, you can say what it is 'about'. |
| 20440 | Art is a referential activity, hence indefinable, but it has a set of symptoms [Goodman] |
| Full Idea: No definition of art is possible (since it is a referential activity), …but the symptoms of art are syntactic density, semantic density, syntactic repleteness, exemplificationality, and multiple and complex reference. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.22-255), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: I wish these labels were more self-explanatory. Goodman seems to want to assimilate art to his earlier interests in linguistic anti-realism and mereology. I wouldn't have thought he now had many followers. |
| 20439 | Artistic symbols are judged by the fruitfulness of their classifications [Goodman, by Giovannelli] |
| Full Idea: Artistic symbols are to be judged for the classifications they bring about, for how novel and insightful those classifications are, for how they change our world perceptions and relations. | |
| From: report of Nelson Goodman (Languages of Art (2nd edn) [1968]) by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: This seems to be an awfully long way from our normal experience of art. I understand 'symbols' in early Flemish art, but not in Mondriaan, or even Rembrandt. |
| 20438 | A performance is only an instance of a work if there is not a single error [Goodman] |
| Full Idea: The most miserable performance without actual mistakes does count as an instance of a work, …but the most brilliant performance with a single wrong note does not. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.186), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) | |
| A reaction: Mereological essentialism applied to art! You need to be a highly theoretical and technical philosopher (which Goodman was) to maintain such a weird and contrary-usage proposal. |
| 20437 | A copy only becomes an 'instance' of an artwork if there is a system of notation [Goodman] |
| Full Idea: Paintings and sculptures do not work within a notation; hence, there is no copying of an original that would preserve its originality. A copy of a painting is a copy, not an instance of the original. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.212), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 2 | |
| A reaction: Sounds conclusive, but isn't. Is a poetry manuscript a 'notation' or an original? Why is an etching plate a notation, but painting on canvas is an original? Can I create a painting specifically so that it can be copied (by my students)? Intention matters. |