8 ideas
| 14798 | All communication is vague, and is outside the principle of non-contradiction [Peirce] |
| Full Idea: The 'vague' might be defined as that to which the principle of contradiction does not apply. For it is false neither that an animal (in a vague sense) is male, nor that an animal is female. No communication between persons can be entirely non-vague. | |
| From: Charles Sanders Peirce (Critical Common-Sensism [1905], I) | |
| A reaction: Note that he makes vagueness largely a matter of the way we talk, which is David Lewis's approach, and looks right to me. |
| 14797 | Vagueness is a neglected but important part of mathematical thought [Peirce] |
| Full Idea: Logicians have too much neglected the study of vagueness, not suspecting the important part it plays in mathematical thought. It is the antithetical analogue of generality. | |
| From: Charles Sanders Peirce (Critical Common-Sensism [1905], I) |
| 2799 | Bayes' theorem explains why very surprising predictions have a higher value as evidence [Horwich] |
| Full Idea: Bayesianism can explain the fact that in science surprising predictions have greater evidential value, as the equation produces a higher degree of confirmation. | |
| From: Paul Horwich (Bayesianism [1992], p.42) |
| 2798 | Probability of H, given evidence E, is prob(H) x prob(E given H) / prob(E) [Horwich] |
| Full Idea: Bayesianism says ideally rational people should have degrees of belief (not all-or-nothing beliefs), corresponding with probability theory. Probability of H, given evidence E, is prob(H) X prob(E given H) / prob(E). | |
| From: Paul Horwich (Bayesianism [1992], p.41) |
| 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. |