8 ideas
| 8714 | Fictionalists say 2+2=4 is true in the way that 'Oliver Twist lived in London' is true [Field,H] |
| Full Idea: The fictionalist can say that the sense in which '2+2=4' is true is pretty much the same as the sense in which 'Oliver Twist lived in London' is true. They are true 'according to a well-known story', or 'according to standard mathematics'. | |
| From: Hartry Field (Realism, Mathematics and Modality [1989], 1.1.1), quoted by Michèle Friend - Introducing the Philosophy of Mathematics 6.3 | |
| A reaction: The roots of this idea are in Carnap. Fictionalism strikes me as brilliant, but poisonous in large doses. Novels can aspire to artistic truth, or to documentary truth. We invent a fiction, and nudge it slowly towards reality. |
| 6455 | Maybe 'sense-data' just help us to talk about unusual perceptual situations [Lacey] |
| Full Idea: One possibility is that talk of sense-data is a mere linguistic convenience, providing a noun for talking about appearances, as when seeing a red object in sodium light (when it looks grey). | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The term seems to have been coined to deal with situations where there is a gap between appearance and presumed reality, as in illusions. Maybe illusions prove the existence of sense-data, rather than it being a 'convenient' term. |
| 6454 | Where do sense-data begin or end? Can they change? What sort of thing are they? [Lacey] |
| Full Idea: It is hard to individuate sense-data, saying where one ends and the next begins, and hard to say whether they can change; are they substances, qualities, events, or what? | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The problem is not that these questions are unanswerable. The answer seems to be either that they are physical and external, or that they are mental and internal, and that there is no ontological space for them between the two. |
| 6453 | Some claim sense-data are public, and are parts of objects [Lacey] |
| Full Idea: Sometimes it is said that sense-data are public, and parts either of objects or of the surfaces of objects. | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: This suggests two drastically different theories, one making sense-data into mental events, the other placing them in the 'external' world. The latter theory can dovetail them with the physics, but then why would we need them? |
| 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! |