6 ideas
| 8800 | If you would deny a truth if you know the full evidence, then knowledge has social aspects [Harman, by Sosa] |
| Full Idea: If one reads of a genuine assassination, but then fails to read the reports next day which untruthfully deny the event, one probably does not know of the event. But we must conclude that knowledge has a further 'social aspect'. | |
| From: report of Gilbert Harman (Induction [1970], §IV) by Ernest Sosa - The Raft and the Pyramid Appx | |
| A reaction: I doubt if this is enough to support an externalist account of defeasibility. Wise people don't 'know' of an event after one report. For 24 hours the Royalists thought they had won Marston Moor! You know he's dead when you see the Zapruder film. |
| 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. |
| 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? |