7 ideas
| 13157 | Choose the true hypothesis, which is the most intelligible one [Leibniz] |
| Full Idea: One should choose the more intelligible hypothesis, and the truth is nothing but its intelligibility. | |
| From: Gottfried Leibniz (On Copernicanism and Relativity of Motion [1689], p.91) | |
| A reaction: This apparently simple observation strikes me as being rather profound. Our picture of the world is shaped entirely by what is intelligible to us. An odd notion of truth, though. The age of reason. See Idea 13158. |
| 9558 | All scientific tests will verify mathematics, so it is a background, not something being tested [Sober] |
| Full Idea: If mathematical statements are part of every competing hypothesis, then no matter which hypothesis comes out best in the light of observations, they will be part of the best hypothesis. They are not tested, but are a background assumption. | |
| From: Elliott Sober (Mathematics and Indispensibility [1993], 45), quoted by Charles Chihara - A Structural Account of Mathematics | |
| A reaction: This is a very nice objection to the Quine-Putnam thesis that mathematics is confirmed by the ongoing successes of science. |
| 13158 | The Copernican theory is right because it is the only one offering a good explanation [Leibniz] |
| Full Idea: The Copernican account is the truest theory, that is, the most intelligible theory and the only one capable of an explanation sufficient for a person of sound reason. | |
| From: Gottfried Leibniz (On Copernicanism and Relativity of Motion [1689], p.92) | |
| A reaction: The word 'intelligible' here seems to be linked to the notion of a best explanation. |
| 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! |