10 ideas
| 7719 | European philosophy consists of a series of footnotes to Plato [Whitehead] |
| Full Idea: The safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato. | |
| From: Alfred North Whitehead (Process and Reality [1929], p.39) | |
| A reaction: Outsiders think this is a ridiculous remark, but readers of Plato can only be struck by what a wonderful tribute Whitehead has come up with. I would say that at least 80% of this database deals with problems which were discussed at length by Plato. |
| 10656 | With 'extensive connection', boundary elements are not included in domains [Whitehead, by Varzi] |
| Full Idea: In Whitehead's theory of extensive connection, no boundary elements are included in the domain of quantification. ...His conception of space contains no parts of lower dimensions, such as points or boundary elements. | |
| From: report of Alfred North Whitehead (Process and Reality [1929]) by Achille Varzi - Mereology 3.1 | |
| A reaction: [Varzi says we should see B.L.Clarke 1981 for a rigorous formulation. Second half of the Idea is Varzi p.21] |
| 15389 | In Whitehead 'processes' consist of events beginning and ending [Whitehead, by Simons] |
| Full Idea: There are no items in Whitehead's ontology called 'processes'. Rather, the term 'process' refers to the way in which the basic things - which are still events - come into existence and cease to exist. Whitehead called this 'becoming'. | |
| From: report of Alfred North Whitehead (Process and Reality [1929]) by Peter Simons - Whitehead: process and cosmology 'The mature' |
| 9591 | The human intellect has not been, and cannot be, fully formalized [Nagel/Newman] |
| Full Idea: The resources of the human intellect have not been, and cannot be, fully formalized. | |
| From: E Nagel / JR Newman (Gödel's Proof [1958], VIII) | |
| A reaction: This conclusion derives from Gödel's Theorem. Some people (e.g. Penrose) get over-excited by this discovery, and conclude that the human mind is supernatural. Imagination is the key - it is a feature of rationality that escapes mechanization. |
| 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! |
| 15247 | Whitehead held that perception was a necessary feature of all causation [Whitehead, by Harré/Madden] |
| Full Idea: On Whitehead's view, not only is a volitional sense of 'causal power' projected on to physical events, but 'perception in the causal mode' is literally ascribed to them. | |
| From: report of Alfred North Whitehead (Process and Reality [1929]) by Harré,R./Madden,E.H. - Causal Powers 3.II | |
| A reaction: This seems to be a close relative of Leibniz's monads. 'Perception' is a daft word for it, but in some way everything is 'responsive' to the things adjacent to it. |
| 16962 | Whitehead replaced points with extended regions [Whitehead, by Quine] |
| Full Idea: Whitehead tried to avoid points, and make do with extended regions and sets of regions. | |
| From: report of Alfred North Whitehead (Process and Reality [1929]) by Willard Quine - Existence and Quantification p.93 |