7 ideas
| 7334 | Anti-realism needs an intuitionist logic with no law of excluded middle [Dummett, by Miller,A] |
| Full Idea: Dummett argues that antirealism implies that classical logic must be given up in favour of some form of intuitionistic logic that does not have the law of excluded middle as a theorem. | |
| From: report of Michael Dummett (works [1970]) by Alexander Miller - Philosophy of Language 9.4 | |
| A reaction: Only realists can think every proposition is either true or false, even if it is beyond the bounds of our possible knowledge (e.g. tiny details from remote history). Personally I think "Plato had brown eyes" is either true or false. |
| 3425 | Reduction has been defined as deriving one theory from another by logic and maths [Nagel,E, by Kim] |
| Full Idea: Ernest Nagel defines reduction as the possibility of deriving all laws of one theory by logic and mathematics to another theory, with appropriate 'bridging principles' (either definitions, or empirical laws) connecting the expressions of the two theories. | |
| From: report of Ernest Nagel (The Structure of Science [1961]) by Jaegwon Kim - Philosophy of Mind p.213 | |
| A reaction: This has been labelled as 'weak' reduction, where 'strong' reduction would be identity, as when lightning is reduced to electrical discharge. You reduce x by showing that it is y in disguise. |
| 3303 | For anti-realists there are no natural distinctions between objects [Dummett, by Benardete,JA] |
| Full Idea: Dummett says that anti-realism offers us a picture of reality as an amorphous lump not yet articulated into discrete objects. | |
| From: report of Michael Dummett (works [1970]) by José A. Benardete - Metaphysics: the logical approach Ch.2 | |
| A reaction: This might be called 'weak' anti-realism, where 'strong' anti-realism is the view that reality is quite unknowable, and possibly non-existent. |
| 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. |