9 ideas
| 9470 | Modal logic is not an extensional language [Parsons,C] |
| Full Idea: Modal logic is not an extensional language. | |
| From: Charles Parsons (A Plea for Substitutional Quantification [1971], p.159 n8) | |
| A reaction: [I record this for investigation. Possible worlds seem to contain objects] |
| 9469 | Substitutional existential quantifier may explain the existence of linguistic entities [Parsons,C] |
| Full Idea: I argue (against Quine) that the existential quantifier substitutionally interpreted has a genuine claim to express a concept of existence, which may give the best account of linguistic abstract entities such as propositions, attributes, and classes. | |
| From: Charles Parsons (A Plea for Substitutional Quantification [1971], p.156) | |
| A reaction: Intuitively I have my doubts about this, since the whole thing sounds like a verbal and conventional game, rather than anything with a proper ontology. Ruth Marcus and Quine disagree over this one. |
| 9468 | On the substitutional interpretation, '(∃x) Fx' is true iff a closed term 't' makes Ft true [Parsons,C] |
| Full Idea: For the substitutional interpretation of quantifiers, a sentence of the form '(∃x) Fx' is true iff there is some closed term 't' of the language such that 'Ft' is true. For the objectual interpretation some object x must exist such that Fx is true. | |
| From: Charles Parsons (A Plea for Substitutional Quantification [1971], p.156) | |
| A reaction: How could you decide if it was true for 't' if you didn't know what object 't' referred to? |
| 22062 | Mental presentation are not empirical, but concern the strivings of the self [Fichte] |
| Full Idea: The intelligence has as the object of its presentation not an empirical perception, but rather only the necessary striving of the self. | |
| From: Johann Fichte (Review of 'Aenesidemus' [1792], Wks I:22), quoted by Ludwig Siep - Fichte p.62 | |
| A reaction: The embodiment of Fichte's idealism. The 'striving' is the spontaneous application of concepts described the Kant. Kant looks outwards, but Fichte sees only the striving. |
| 22015 | The thing-in-itself is an empty dream [Fichte, by Pinkard] |
| Full Idea: Fichte said that the thing-in-itself (which both Reinhold and Schulze accepted) is only "a piece of whimsy, a pipe-dream, a non-thought". | |
| From: report of Johann Fichte (Review of 'Aenesidemus' [1792]) by Terry Pinkard - German Philosophy 1760-1860 05 | |
| A reaction: This seems to be a key moment in German philosophy, and the first step towards the idealist interpretation of Kant. |
| 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. |
| 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! |
| 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. |