3 ideas
| 21929 | Derrida focuses on ambiguity, but talks of 'dissemination', not traditional multiple meanings [Derrida] |
| Full Idea: Derrida affirms something like an 'ambiguity of meaning'. But he explicitly contrasts the word he uses to characterize the phenomenon at issue, what he calls 'dissemination', with the traditional concept of 'polysemia' - multiple meanings. | |
| From: Jacques Derrida (Of Grammatology [1967]), quoted by Simon Glendinning - Derrida: A Very Short Introduction 2 'After' | |
| A reaction: The point, I presume, is that there is vagueness and elision to the meanings, rather than a list of options, such as bank/bank. Context (sense-making paths) is crucial for Derrida. Can the analytic apparatus for the logic of vagueness be brought to bear? |
| 8114 | The institutional theory says only a competent expert can decree something to be an art work [Dickie, by Gardner] |
| Full Idea: Dickie's institutional theory of art says that something is a work of art if and only if it has had that status conferred on it by a competent member of the artworld. | |
| From: report of George Dickie (Introduction to Aesthetics [1997], Ch.8) by Sebastian Gardner - Aesthetics 3.1 | |
| A reaction: The idea that a single 'competent' person can do this sounds daft, and probably circular. A consensus in the artworld sounds more plausible, but this still leaves the revolutionary genius, who - in retrospect - produced unrecognised 'art'. |
| 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? |