7 ideas
| 19043 | Bivalence applies not just to sentences, but that general terms are true or false of each object [Quine] |
| Full Idea: It is in the spirit of bivalence not just to treat each closed sentence as true or false; as Frege stressed, each general term must be definitely true or false of each object, specificiable or not. | |
| From: Willard Quine (What Price Bivalence? [1981], p.36) | |
| A reaction: But note that this is only the 'spirit' of the thing. If you had (as I do) doubts about whether predicates actually refer to genuine 'properties', you may want to stick to the whole sentence view, and not be so fine-grained. |
| 19042 | Terms learned by ostension tend to be vague, because that must be quick and unrefined [Quine] |
| Full Idea: A term is apt to be vague if it is to be learned by ostension, since its applicability must admit of being judged on the spot and so cannot hinge of fine distinctions laboriously drawn. | |
| From: Willard Quine (What Price Bivalence? [1981], p.32) | |
| A reaction: [Quine cites C. Wright for this] Presumably precision can steadily increased by repeated ostension. After the first 'dog' it's pretty vague; after hundreds of them we are pretty clear about it. Long observation of borderline 'clouds' could do the same. |
| 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. |
| 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. |
| 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! |
| 16764 | The soul conserves the body, as we see by its dissolution when the soul leaves [Toletus] |
| Full Idea: Every accident of a living thing, as well as all its organs and temperaments and its dispositions are conserved by the soul. We see this from experience, since when that soul recedes, all these dissolve and become corrupted. | |
| From: Franciscus Toletus (Commentary on 'De Anima' [1572], II.1.1), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 24.5 | |
| A reaction: A nice example of observing a phenemonon, but not being able to observe the dependence relation the right way round. Compare Descartes in Idea 16763. |