7 ideas
| 6710 | You can only define a statement that something is 'true' by referring to its functional possibilities [James] |
| Full Idea: Pragmatism insists that statements and beliefs are inertly and statically true only by courtesy: they practically pass for true; but you cannot define what you mean by calling them true without referring to their functional possibilities. | |
| From: William James (The Meaning of the Word "Truth" [1907], p.2) | |
| A reaction: I think this clarifies an objection to pragmatism, because all functional definitions (e.g. of the mind, or of moral behaviour) are preceded by the question of WHY this thing is able to function in this way. What special quality makes this possible? |
| 22305 | If the hypothesis of God is widely successful, it is true [James] |
| Full Idea: On pragmatistic principles, if the hypothesis of God works satisfactorily in the widest sense of the word, it is true. | |
| From: William James (The Meaning of the Word "Truth" [1907], p.299), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 35 'Prag' | |
| A reaction: How you get from 'widely satisfactory' to 'true' is beyond my comprehension. This is dangerous nonsense. This view of truth seems to be a commonplace in American culture. Peirce hurray! James boo! James accepted verification, where possible. |
| 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. |
| 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! |
| 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. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |