10 ideas
| 14767 | The demonstrations of the metaphysicians are all moonshine [Peirce] |
| Full Idea: The demonstrations of the metaphysicians are all moonshine. | |
| From: Charles Sanders Peirce (Concerning the Author [1897], p.2) |
| 14764 | I am saturated with the spirit of physical science [Peirce] |
| Full Idea: I am saturated, through and through, with the spirit of the physical sciences. | |
| From: Charles Sanders Peirce (Concerning the Author [1897], p.1) |
| 17606 | Axioms reveal the underlying assumptions, and reveal relationships between different areas [Kline] |
| Full Idea: The axiomatic method ....revealed precisely what assumptions underlie each branch [of mathematics] and made possible the comparison and clarification of the relationships of various branches. | |
| From: Morris Kline (Mathematical Thought from Ancient to Modern Times [1972], p.1027), quoted by Penelope Maddy - Defending the Axioms 1.3 | |
| A reaction: I take this to be the 'fruitfulness' which marks out the discovery of the essence of something. |
| 14768 | Infallibility in science is just a joke [Peirce] |
| Full Idea: Infallibility in scientific matters seems to me irresistibly comical. | |
| From: Charles Sanders Peirce (Concerning the Author [1897], p.3) |
| 14765 | Association of ideas is the best philosophical idea of the prescientific age [Peirce] |
| Full Idea: The doctrine of the association of ideas is, to my thinking, the finest piece of philosophical work of the prescientific ages. | |
| From: Charles Sanders Peirce (Concerning the Author [1897], p.2) |
| 14766 | Duns Scotus offers perhaps the best logic and metaphysics for modern physical science [Peirce] |
| Full Idea: The works of Duns Scotus have strongly influenced me. …His logic and metaphysics, torn away from its medievalism, …will go far toward supplying the philosophy which is best to harmonize with physical science. | |
| From: Charles Sanders Peirce (Concerning the Author [1897], p.2) |
| 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. |